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: How color adjustments are animated depends on the Radial HSL Interpolation
setting in the User Prefs tab of the Setup room. In nearly all cases, you'll get the best
results by leaving this option turned off. For more information, see The User Preferences
Tab.
Keyframing Secondary Corrections
Like parameters and controls in the Primary In and Out rooms, most of the color correction
parameters and controls in the Secondaries room can be animated. Each of the eight
secondary tabs has its own keyframe track. Furthermore, each secondary tab's Inside and
Outside settings are individually keyframed.
In addition to the color and contrast controls, the following secondary controls can also
be animated using keyframes:
• The Enable button that turns each secondary correction off and on
• The qualifiers for the secondary keyer
• The Vignette button that turns vignetting off and on
• All vignette shape parameters
Note: Secondary curves cannot be animated with keyframes.
The ability to keyframe all these controls means you can automate secondary color
correction operations in extremely powerful ways. For example, you can adjust the
qualifiers of the secondary keyer to compensate for a change of exposure in the original
shot that's causing an unwanted change in the area of isolation.
Keyframing the vignette shape parameters lets you animate vignettes to follow a moving
subject, or to create other animated spotlight effects.
Keyframing Color FX
You can keyframe node parameters in the Color FX room to create all sorts of effects.
Even though the Color FX room only has a single keyframe track, each node in your node
tree has its own keyframes. You can record the state of every parameter within a node
using a single set of keyframes; however, a node's parameters cannot be individually
keyframed.
The only keyframes that are displayed in the Color FX room's keyframe track are those of
the node that's currently selected for editing. All other node keyframes are hidden. This
can be a bit confusing at first, as keyframes appear and disappear in the Timeline
depending on which node is currently being edited.
Keyframing Pan & Scan Effects
You can keyframe all the adjustments you make using the Pan & Scan parameters and
onscreen controls in the Geometry room, creating animated Pan & Scan effects and
geometric transformations. All parameters are keyframed together.
350 Chapter 14 Keyframing