1.5
Table Of Contents
- Color User Manual
- Contents
- Welcome to Color
- Color Correction Basics
- Color Correction Workflows
- An Overview of the Color Workflow
- Limitations in Color
- Video Finishing Workflows Using Final Cut Pro
- Importing Projects from Other Video Editing Applications
- Digital Cinema Workflows Using Apple ProRes 4444
- Finishing Projects Using RED Media
- Digital Intermediate Workflows Using DPX/Cineon Media
- Using EDLs, Timecode, and Frame Numbers to Conform Projects
- Using the Color Interface
- Importing and Managing Projects and Media
- Creating and Opening Projects
- Saving Projects
- Saving and Opening Archives
- Moving Projects from Final Cut Pro to Color
- Before You Export Your Final Cut Pro Project
- Move Clips That Aren’t Being Composited to Track V1 in the Timeline
- Remove Unnecessary Video Filters
- Organize All Color Corrector 3-Way Filters
- Divide Long Projects into Reels
- Export Self-Contained QuickTime Files for Effects Clips You Need to Color Correct
- Use Uncompressed or Lightly Compressed Still Image Formats
- Make Sure All Freeze Frame Effects Are on Track V1
- Make Sure All Clips Have the Same Frame Rate
- Media Manage Your Project, If Necessary
- Recapture Offline Media at Online Quality, If Necessary
- Check All Transitions and Effects If You Plan to Render 2K or 4K Image Sequences for Film Out
- Using the Send To Color Command in Final Cut Pro
- Importing an XML File into Color
- Before You Export Your Final Cut Pro Project
- Importing EDLs
- EDL Import Settings
- Relinking Media
- Importing Media Directly into the Timeline
- Compatible Media Formats
- Moving Projects from Color to Final Cut Pro
- Exporting EDLs
- Reconforming Projects
- Converting Cineon and DPX Image Sequences to QuickTime
- Importing Color Corrections
- Exporting JPEG Images
- Configuring the Setup Room
- The File Browser
- Using the Shots Browser
- The Grades Bin
- The Project Settings Tab
- The Messages Tab
- The User Preferences Tab
- Monitoring Your Project
- Timeline Playback, Navigation, and Editing
- Basic Timeline Elements
- Customizing the Timeline Interface
- Working with Tracks
- Selecting the Current Shot
- Timeline Playback
- Zooming In and Out of the Timeline
- Timeline Navigation
- Selecting Shots in the Timeline
- Working with Grades in the Timeline
- The Settings 1 Tab
- The Settings 2 Tab
- Editing Controls and Procedures
- Analyzing Signals Using the Video Scopes
- The Primary In Room
- The Secondaries Room
- What Is the Secondaries Room Used For?
- Where to Start in the Secondaries Room?
- The Enabled Button in the Secondaries Room
- Choosing a Region to Correct Using the HSL Qualifiers
- Controls in the Previews Tab
- Isolating a Region Using the Vignette Controls
- Adjusting the Inside and Outside of a Secondary Operation
- The Secondary Curves Explained
- Reset Controls in the Secondaries Room
- The Color FX Room
- The Primary Out Room
- Managing Corrections and Grades
- The Difference Between Corrections and Grades
- Saving and Using Corrections and Grades
- Managing Grades in the Timeline
- Using the Copy To Buttons in the Primary Rooms
- Using the Copy Grade and Paste Grade Memory Banks
- Setting a Beauty Grade in the Timeline
- Disabling All Grades
- Managing Grades in the Shots Browser
- Managing a Shot’s Corrections Using Multiple Rooms
- Keyframing
- The Geometry Room
- The Still Store
- The Render Queue
- Appendix A: Calibrating Your Monitor
- Appendix B: Keyboard Shortcuts in Color
- Appendix C: Using Multi-Touch Controls in Color
- Appendix D: Setting Up a Control Surface
To resize individual tracks
µ
Hold down the Shift key, then drag the center handle of the gray bar at the bottom of
the track you want to resize until it’s the desired height.
Note: The next time you resize all video tracks together, individually resized tracks snap
to match the newly adjusted track size.
Working with Tracks
This section describes different ways you can change the state of tracks in the Timeline
as you work.
Note: The tracks of imported XML projects are automatically locked. For the best roundtrip
results, these tracks should not be unlocked.
To lock or unlock a track
µ
Control-click or right-click anywhere within a track, then choose one of the following
from the shortcut menu:
• Lock Track: Locks all the shots so that they can’t be moved or edited.
• Unlock Track: Allows shots to be moved and edited.
Note: You can also lock the grades track in the Timeline using the same methods.
To hide or show a track
µ
Control-click or right-click anywhere within a track, then choose one of the following:
• Hide Track: Disables a track such that superimposed shots are neither visible nor
selectable when the playhead passes over them.
• Show Track: Makes a track visible again. Superimposed shots take precedence over
shots on lower tracks and are selected by default whenever that track is visible.
Tip: Prior to exporting a project from Final Cut Pro, you can export a self-contained
QuickTime movie of the entire program and superimpose it over the other clips in your
edited sequence. Then, when you export the project to Color, you can turn this “reference”
version of the program on and off using track visibility whenever you want to have a look
at effects or color corrections that were created during the offline edit.
To add a track
µ
Control-click or right-click anywhere within a track, then choose New Track from the
shortcut menu.
To remove a track
µ
Control-click or right-click anywhere within a track, then choose Remove Track from the
shortcut menu.
Note: You cannot remove the bottom track.
165Chapter 7 Timeline Playback, Navigation, and Editing










