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
Grain Reduction
Reduces grain and noise in an image by averaging adjacent pixels in that frame according
to the values specified in the Master, Red, Green, and Blue Scale parameters. Edge
detection can be used to preserve sharpness in areas of high-contrast detail via the Edge
Retention parameter, and a sharpening operation can be applied after grain reduction
to boost overall detail. Because some shots have noise that’s more apparent in specific
color channels, you can make independent adjustments to each channel. This node has
six parameters:
• Master Scale: Averages the adjacent pixels of every color channel in the image to reduce
grain and noise, at the expense of a certain amount of image softness.
• Red Scale: Selectively averages pixels in the red channel.
• Green Scale: Selectively averages pixels in the green channel.
• Blue Scale: Selectively averages pixels in the blue channel.
• Edge Retention: Uses edge detection to isolate areas of high-contrast detail in the image
(such as hair, eyes, and lips in an actor’s close-up), and excludes those areas of the
image from the Grain Reduction operation to preserve the most valuable image detail
from softening. Higher values preserve more of the original image in these areas.
• Post Sharpening: Applies a Sharpening Convolution filter after the Grain Reduction
operation to try and restore some lost detail once the grain has been softened. Use
this parameter sparingly—if you set this too high, you’ll end up reintroducing the grain
you’re trying to reduce.
Hue
Rotates the hue of every pixel in the entire image. This node has one parameter:
• Shift: The amount by which you want to shift the hue. This is not done in degrees, as
is represented in the Vectorscope. Instead, you use a value from –1 to 1, where –1, 0,
and 1 place the hue at the original values.
Invert
Inverts the image. Useful for creating “positives” from the image negative. Also useful for
reversing a grayscale image that you’re using as a matte with the Alpha Blend node, to
reverse the portions of the matte that will be solid and transparent.
Lift
Lift uniformly lightens or darkens the entire image, altering the shadows, midtones, and
highlights by the same amount. This node has four parameters:
• Lift: Adjusts the red, green, and blue channels simultaneously, for an overall change
to image brightness.
• Red Lift: Adjusts the red channel only, enabling color correction based on a lift
adjustment for that channel.
307Chapter 11 The Color FX Room










