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
Blend
This node mixes two inputs together based on the Blend parameter. The order in which
the inputs are connected does not matter. Blend has one parameter:
• Blend: When set to 0, only Input 1 is output. When set to .5, Input 1 and Input 2 are
blended together equally and output. When set to 1, only Input 2 is output.
Darken
Emphasizes the darkest parts of each input. Overlapping pixels from each image are
compared, and the darkest pixel is preserved. Areas of white from either input image
have no effect on the result. The order in which the inputs are connected does not matter.
Difference
The pixels from the image that’s connected to Source 1 are subtracted from the pixels
from the image that’s connected to Source 2. Black pixels have a value of 0, so any color
minus black results in no change to the image from Source 1. Since this is subtraction,
the order in which the inputs are connected matters.
Interlace
The images connected to each input are interlaced. The Left input is for the Even field,
and the Right input is for the Odd field. This node is used at the end of node trees that
begin with Deinterlace nodes to process effects for projects using interlaced media.
Lighten
Lighten emphasizes the lightest parts of each input. Overlapping pixels from each image
are compared, and the lightest pixel is preserved. The order in which the inputs are
connected does not matter.
Multiply
The pixels from each input image are multiplied together. White pixels have a value of
1, so white multiplied with any other color results in no change to the other image.
However, when black (0) is multiplied with any other color, the result is black.
When multiplying two images, the darkest parts of the images remain unaffected, while
the lightest parts of the image are the most affected. This is useful for tinting operations,
as well as for operations where you want to combine the darkest portions of two images.
RGB Merge
The three inputs are used to insert individual channels into the red, green, and blue color
channels. You can split the three color channels apart using the RGB Split node, process
each grayscale channel individually, and then reassemble them into a color image again
with this node.
Effects Nodes
The following nodes have a single input and are used to apply a single correction or effect
to an image.
303Chapter 11 The Color FX Room