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
• Video (64 Black - 940 White : Linear): The minimum and maximum values of 0 and 100
percent in Color’s scopes correspond to the digital values of 64 and 940 in rendered
DPX files. Super-white values above 100, if present in Color, are preserved using this
format.
• Linear (0 Black - 1023 White): The minimum and maximum values of 0 and 100 percent
in Color’s scopes correspond to the digital values of 0 and 1023 in rendered DPX files.
Super-white values, if present in Color, are clipped using this format when rendering
DPX files.
This is also the default setting for QuickTime output. When rendering QuickTime files,
super-white values above 100 are preserved if the QuickTime export codec is set to a
Y′C
B
C
R
-compatible codec, such as Apple ProRes 422 (HQ) or 10-bit Uncompressed 4:2:2.
If you’re rendering to an RGB-compatible codec, such as Apple ProRes 4444, super-white
values are clipped.
Gather Rendered Media
The Gather Rendered Media command can only be used if the shots of a project have
been rendered as a series of DPX or Cineon image sequences. This command is used to
reorganize all of a project’s rendered image sequence media in preparation for delivery
to a film printer.
This operation organizes your rendered image sequences in three ways:
• Every rendered frame of media for your project is placed within a single directory.
• Every frame of media for your project is renamed to create a single, continuous range
of frames from the first to the last image of the rendered project.
• All video transitions in your project are rendered as linear dissolves. Only dissolves are
rendered; any other type of transition appearing in your project, such as a wipe or iris,
will be rendered as a dissolve instead.
Important: You cannot gather media in an XML-based roundtrip.
To gather rendered media
1 Chose File > Gather Rendered Media.
2 Choose one of three options for gathering the rendered media for your project:
• Copy Files: Makes duplicates of the image sequence files, but leaves the originally
rendered files in the render directory.
• Move Files: Copies the image sequence files, and then deletes the originally rendered
files from the render directory.
403Chapter 17 The Render Queue










