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
Note: The Matte Preview Mode and Vignette Outline appear in the preview display of
the Scopes window only when the Previews tab in the Secondaries room is selected.
Matte Preview
Mode buttons
Vignette outline
Vignette preview HSL Qualifier Matte preview
• Vignette preview: The image on the left (above) shows you the position and size of the
currently selected vignette shape, when the Vignette button is enabled. When you use
the square or circle vignette, this window also contains an onscreen control you can
use to move, resize, and soften the vignette. If you’ve selected a user shape in the
Geometry room instead, you’ll see a noneditable outline of that shape. For more
information, see Isolating a Region Using the Vignette Controls.
• HSL qualifier preview: The image on the right shows you the matte that’s being generated
by the HSL qualifiers. This window does not include the mask that’s generated by the
vignette controls, nor does it display the HSL matte as it appears when the Key Blur
parameter is used. (The final HSL matte as it’s modified by both vignetting and key blur
is visible in the preview display only when the Matte Preview Mode is set to Matte
Only.)
The white areas of the mask indicate the parts of the image that are selected with the
current qualification settings, that will be affected by the adjustments you make. The
black areas of the image are the parts of the picture that remain unaffected.
• Matte Preview Mode buttons: These buttons control what is visible in the preview display
in the Scopes window. There are three modes:
• Final image: Shows a preview of how the final effect looks. This is similar to the
ordinary preview that’s displayed in the Scopes window, except that it also shows
the vignette outline, when the Vignette button is enabled.
• Desaturated preview: The areas of the image that are selected with the current
qualification settings appear in color, while the areas of the image that remain
unaffected are desaturated and appear monochrome.
269Chapter 10 The Secondaries Room