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 Curves Controls
The curves controls, located underneath the color controls in the Primary In room, provide
an additional method for adjusting the color and contrast of your images. If you're familiar
with image editing applications such as Photoshop, chances are you've used curves
before.
The three main differences between the curves controls and the color balance controls
are:
• The curves controls let you make adjustments to as many specific tonal ranges that
you choose to define, while the color balance controls affect three predefined tonal
ranges.
• Each curves control affects only a single color channel, while the color balance controls
let you quickly adjust all three color channels simultaneously.
• Curves cannot be animated with keyframes, although every other parameter in the
Primary In and Primary Out rooms can be.
Color balance controls are usually faster to use when making broad adjustments to the
shadows, midtones, and highlights of the image. Curves, on the other hand, often take
more time to adjust, but they allow extremely precise adjustments within narrow tonal
zones of the image, which can border on the kinds of operations typically performed
using secondary color correction.
Important: While the power of curves can be seductive, be wary of spending too much
time finessing your shots using the curves controls, especially in client sessions where
time is money. It's easy to get lost in the minutiae of a single shot while the clock is ticking,
and such detail work may be faster to accomplish with other tools.
How Curves Affect the Image
Curves work by remapping the original color and luma values to new values that you
choose, simply by changing the height of the curve. The x axis of the graph represents
the source values that fall along the entire tonal range of the original image, from black
(left) to white (right). The y axis of the graph represents the tonal range available for
adjustment, from black (bottom) to white (top).
234 Chapter 9 The Primary In Room










