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
If necessary, you can animate Pan & Scan effects in one of two ways:
• Using keyframes: You can keyframe all the Pan & Scan transform controls. For more
information on keyframing in Color, see Keyframing.
• Using a tracker: You can also use motion tracking to automatically animate a Pan &
Scan effect; for example, to move to follow a character who is walking across the screen.
Once you create a tracker and analyze the shot (in the Tracking tab), you simply choose
the number of the tracker you want to use from the Use Tracker pop-up menu, and
the Position X and Y parameters are automatically animated. If Use Tracker is set to
None, no trackers are applied. For more information, see The Tracking Tab.
Copying and Resetting Pan & Scan Settings
Three buttons at the bottom of the Pan & Scan tab let you copy and reset the adjustments
you make with these controls.
• Copy To Selected button: Select one or more shots in the Timeline, then click this button
to copy the current Pan & Scan settings to all the selected shots.
• Copy To All button: Copies the Pan & Scan settings to all the shots in the program. This
is useful if you’re making a global adjustment when changing the format of a program.
• Reset Geometry button: Resets all the Pan & Scan parameters to the default scale for
your project.
The Shapes Tab
The Shapes tab lets you draw custom shapes to use as vignettes in the Secondaries room
for feature isolation, vignetting, or digital relighting. The Shapes tab is not meant to be
used by itself, nor are you meant to begin operations in the Shapes tab. Instead, shapes
are initially created by choosing the User Shape option from the Shape pop-up menu of
the Vignette controls in the Secondaries room.
When you choose this option, you are immediately taken to the Shapes tab of the
Geometry room, which provides the controls for drawing and editing your own custom
shapes. For a more thorough explanation of this workflow, see Creating a User Shape for
Vignetting.
Note: User Shapes can only be used with secondary operations in the Secondaries room.
They cannot be used in the Color FX room.
361Chapter 15 The Geometry Room










