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
Maintain Framerate
The Maintain Framerate setting in the User Prefs tab of the Setup room determines
whether or not frames are dropped in order to maintain the project’s frame rate during
playback.
• If Maintain Framerate is turned on (the default): The current frame rate is maintained no
matter what the current processing workload is. If the currently playing grade is
processor-intensive, then frames will be dropped during playback to maintain the
project’s frame rate. If not, playback occurs in real time.
• If Maintain Framerate is turned off: Every frame is always played back. If the currently
playing grade is processor-intensive, playback will slow in order to avoid dropping
frames. If not, playback may actually occur at faster than real time.
Zooming In and Out of the Timeline
The following controls let you zoom in and out of your program in the Timeline, changing
how many shots are visible at once.
How far you can zoom in to the Timeline depends on what units the Timeline ruler is set
to display. The larger the units the Timeline is set to display, the farther you can zoom
out. For example, in order to view more shots in the Timeline simultaneously, you can
zoom out farther when the Timeline ruler is set to Minutes than when it’s set to Frames.
Note: Zooming using the mouse allows you to zoom in or out as far as you want to go;
the Timeline ruler’s units change automatically as you zoom.
To zoom in to and out of the Timeline
1 Move the playhead to a position in the Timeline where you want to center the zooming
operation.
2 With the pointer positioned within the Timeline, do one of the following:
• Choose Timeline > Zoom In, or press Minus Sign (–) to zoom in.
• Choose Timeline > Zoom Out, or press Equal Sign (=) to zoom out.
Note: You can also use the Plus Sign (+) and Minus Sign (–) keys in the numeric keypad
to zoom in to or out of the Timeline.
To zoom in to and out of the Timeline using the mouse
µ
Right-click in the Timeline ruler, then drag right to zoom in, or left to zoom out.
To fit every shot of your program into the available width of the Timeline
µ
Press Shift-Z.
169Chapter 7 Timeline Playback, Navigation, and Editing