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
The Settings 2 Tab
The Settings 2 tab contains additional settings that let you modify the header data of
DPX and Cineon image files.
• Override Header Settings: Selecting this button enables the Printing Density pop-up
menu to be manually changed, so that you can override the printing density settings
in the DPX header for the current shot.
• Printing Density pop-up menu: This pop-up menu is initially disabled, displaying the
numeric range of values that 0 percent black and 100 percent white are mapped to in
the source media. There are three options:
• Film (95 Black - 685 White : Logarithmic)
• Video (65 Black - 940 White : Linear)
• Linear (0 Black - 1023 White)
If you’re working with logarithmic DPX and Cineon film scans, the default black point
is typically 95, and the default white point is typically 685. When you first load a project
that uses scanned film media, it’s important to make sure that the Black Point and
White Point settings aren’t filled with spurious data. Check with your lab to verify the
appropriate settings, and if the settings in your source media don’t match, turn on
Override Header Settings, and then choose a new printing density from this pop-up
menu. For more information, see Choosing Printing Density When Rendering DPX
Media.
• DeInterlace: Selecting this button lets you individually deinterlace clips. This setting
overrides the Deinterlace Renders and Deinterlace Previews settings in the Project
Settings tab. When DeInterlace is turned on, both video fields are averaged together
to create a single frame.
• Copy To All: Copies the current header settings to every single shot in the Timeline.
This is useful if you find that the header data for all of the film scan media your program
uses is incorrect. Use this with extreme caution.
• Copy To Selected: Copies the current header settings to all currently selected shots in
the Timeline. Useful if your project consists of a variety of scanned media from different
sources with different header values.
175Chapter 7 Timeline Playback, Navigation, and Editing