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
Printer Points Controls
These parameters are available for colorists who are used to working with the printer
points system for color timing film. Employed by film printing machines, the printer points
system allows color correction to be performed optically, by shining filtered light through
the conformed camera negatives to expose an intermediate positive print, in the process
creating a single reel of film that is the color-corrected print.
The process of controlling the color of individual shots and doing scene-to-scene color
correction is accomplished using just three controls to individually adjust the amount of
red, green, and blue light that exposes the film, using a series of optical filters and shutters.
This method of making adjustments can be reproduced digitally using the Printer Points
parameters.
Tip: These parameters are controllable using knobs on most compatible control surfaces.
What Is a Printer Point?
Each of the Red, Green, and Blue parameters is adjusted in discrete increments called
printer points (with each point being a fraction of an ƒ-stop, the scale used to measure
film exposure). Color implements a standard system employing a total range of 50 points
for each channel, where point 25 is the original neutral state for that color channel.
Technically speaking, each point represents 1/4 of an ƒ-stop of exposure (one ƒ-stop
represents a doubling of light). Each full stop of exposure equals 12 printer points.
Making Adjustments Using Printer Points
Unlike virtually every other control in the Primary In room, the Red, Green, and Blue Printer
Points parameters make a uniform adjustment to the entire color channel, irrespective
of image tonality.
Also unique is the way in which adjustments are made. To emulate the nature of the
filters employed by these kinds of machines, raising a parameter such as the Printer Points
Red parameter doesn’t actually boost the red; instead, it removes red, causing the image
to shift to cyan (the secondary of green and blue). To increase red, you actually need to
decrease the Printer Points Red parameter.
Increasing or decreasing all three Printer Points parameters together darkens the image
(by raising all three parameters) or lightens it (by lowering all three parameters). Making
disproportionate adjustments to the three channels changes the color balance of the
image relative to the adjustment, altering the color of the image and allowing for the
correction or introduction of color casts.
250 Chapter 9 The Primary In Room










