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
• Green Lift: Adjusts the green channel only, enabling color correction based on a lift
adjustment for that channel.
• Blue Lift: Adjusts the blue channel only, enabling color correction based on a lift
adjustment for that channel.
Maximum
Averages adjacent pixels together (how many is based on the Brush Size parameter) to
produce a single, larger pixel based on the brightest value in that pixel group. Larger
values result in flattened, almost watercolor-like versions of the image. This node is also
useful for expanding the white areas and smoothing out grayscale images that you’re
using as mattes. This node has one parameter:
• Brush Size: Defines how many pixels are averaged into a single, larger pixel. Extremely
large values result in progressively larger, overlapping square pixels of uniform color,
emphasizing lighter pastel-like tones in the image.
Minimum
Averages adjacent pixels together (how many is based on the Brush Size parameter) to
produce a single, larger pixel based on the darkest value in that pixel group. Larger values
result in flattened, darkened versions of the image. This node is also useful for expanding
the black areas and smoothing out grayscale images that you’re using as mattes. This
node has one parameter:
• Brush Size: Defines how many pixels are averaged into a single, larger pixel. Extremely
large values result in progressively larger, overlapping square pixels of uniform color,
emphasizing darker, muddier tones in the image.
Printer Lights
Provides Red, Green, and Blue parameters for color correction that work identically to the
printer points controls in the Advanced tab of the Primary In room. For more information,
see Printer Points Controls.
Saturation
Raises or lowers overall image saturation, making the image more or less colorful. If you
use the Saturation node to completely desaturate an image, all three color channels are
blended together equally to create the final monochrome result, which looks different
then if you had used the B&W node. This node has one parameter:
• Saturation: The default value of 1 produces no change. 0 is a completely desaturated
image, while the maximum value of 10 produces an excessively saturated, hyper-stylized
version of the image.
308 Chapter 11 The Color FX Room