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 RGB Additive Color Model Explained
In the RGB color model, three color channels are used to store red, green, and blue values
in varying amounts to represent each available color that can be reproduced. Adjusting
the relative balance of values in these color channels adjusts the color being represented.
When all three values are equal, the result is a neutral tone, from black through gray to
white.
More typically, you’ll see these ratios expressed as digital percentages in the Color Parade
scope or Histogram. For example, if all three color channels are 0%, the pixel is black. If
all three color channels are 50%, the pixel is a neutral gray. If all three color channels are
100% (the maximum value), the pixel is white.
Animation (an older, 8-bit codec) and Apple ProRes 4444 (a newer 10-bit codec) are the
two most commonly used RGB QuickTime codecs. In digital intermediate workflows,
RGB-encoded images are typically stored as uncompressed DPX or Cineon image
sequences.
The Y′C
B
C
R
Color Model Explained
Video is typically recorded using the Y′C
B
C
R
color model. Y′C
B
C
R
color coding also employs
three channels, or components. A shot’s image is divided into one luma component (luma
is image luminance modified by gamma for broadcast) and two color difference
components which encode the chroma (chrominance). Together, these three components
make up the picture that you see when you play back your video.
• The Y′ component represents the black-and-white portion of an image’s tonal range.
Because the eye has different sensitivities to the red, green, and blue portions of the
spectrum, the image “lightness” that the Y′ component reproduces is derived from a
weighted ratio of the (gamma-corrected) R, G, and B color channels. (Incidentally, the
Y′ component is mostly green.) Viewed on its own, the Y′ component is the
monochrome image.
• The two color difference components, C
B
and C
R
, are used to encode the color
information in such a way as to fit three color channels of image data into two. A bit
of math is used to take advantage of the fact that the Y′ component also stores green
information for the image. The actual math used to derive each color component is C
B
= B′ - Y′, while C
R
= R′ - Y′.
Note: This scheme was originally created so that older black-and-white televisions would
be compatible with the newer color television transmissions.
Chroma Subsampling Explained
In Y′C
B
C
R
encoded video, the color channels are typically sampled at a lower ratio than
the luma channel. Because the human eye is more sensitive to differences in brightness
than in color, this has been used as a way of reducing the video bandwidth (or data rate)
requirements without perceptible loss to the image.
24 Chapter 1 Color Correction Basics










