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
2 Move the pointer to the edit point between the two shots that you want to roll, and drag
it either left or right to make the edit.
The Timeline updates to reflect the edit you’re making.
Ripple Tool
A ripple edit adjusts a shot’s In or Out point, making that shot longer or shorter, without
leaving a gap in the Timeline. The change in duration of the shot you adjusted ripples
through the rest of the program in the Timeline, moving all shots that are to the right of
the one you adjusted either earlier or later in the Timeline.
A ripple edit is a one-sided edit, meaning that you can only use it to adjust the In or Out
point of a single shot. All shots following the one you’ve adjusted are moved—to the left
if you’ve shortened it or to the right if you’ve lengthened it. This is a significant operation
that can potentially affect the timing of your entire program.
A B C
A B C
Before edit
After edit
Important: Ripple edits can be dangerous if you are trying to maintain sync between
your program in Color and the original audio in the Final Cut Pro sequence or source EDL
that is being mixed somewhere else entirely, since the shots in your Color project may
move forward or backward while the externally synced audio doesn’t.
To perform a ripple edit
1 Do one of the following to choose the Ripple edit tool:
• Choose Timeline > Ripple Tool.
• Press Control-T.
2 Move the pointer to the In or Out point of the shot you want to shorten or lengthen, then
drag it either left or right to make the edit.
The Timeline updates to reflect the edit you’re making, with all the shots following the
one you’re adjusting moving to the left or right to accommodate the change in timing.
Slip Tool
Performing a slip edit doesn’t change a shot’s position or duration in the Timeline; instead
it changes what portion of that shot’s media appears in the Timeline by letting you change
its In and Out points simultaneously.
178 Chapter 7 Timeline Playback, Navigation, and Editing










