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
• Your Controller configured with an Ethernet board supplied in Slot #1
• Multiport hub, router, or switch
• Cat-5 Ethernet cables
The Eclipse CX has a single Ethernet connection. The Ethernet connection for the
MCS-Spectrum is bridged to the MCS-3000 using an Expander Cable. The MCS-3000 then
connects to your computer via Ethernet.
Important: The JLCooper control surfaces cannot be connected to the second Ethernet
port of your Mac Pro; it must be connected to your computer’s primary Ethernet port, if
necessary, through a hub or switch if you need to share the port with an Internet
connection.
For more information, see:
• Configuring the MCS-3000 and MCS-Spectrum Control Surfaces
• Controls for the MCS-3000
• Controls for the MCS-Spectrum
Configuring the MCS-3000 and MCS-Spectrum Control Surfaces
The following procedures describe how to configure and use these control surfaces with
Color.
To set up the MCS-3000 and MCS-Spectrum for use with Color
1 Turn on the MCS-3000 and wait for the unit to power up.
The MCS-3000 works similarly to any other networked computer, so you must enter
Ethernet IP settings into the device itself so that it can network with your computer.
2 Hold down the SHIFT and ASSIGN/UTILITY buttons simultaneously.
The current IP address settings should appear in the display at the top of the unit.
3 Using the numeric keypad on the MCS-3000, type in the following values:
a Enter an IP Address, then press ENTER to accept and continue.
For example, you might enter: 192.168.001.010
Note: The first three period-delimited sets of numbers in the IP address must match
the first three sets of numbers that are used on your particular network. If you’re not
sure what values to use, you can check to see what IP address is used by your computer
(look for your computer’s IP address in the Network settings of System Preferences),
and base the MCS-3000 IP address on that, making sure you change the last three
numbers so that this address isn’t used by any other device on your network.
b Enter a gateway address, then press ENTER to accept and continue.
Note: The first three period-delimited sets of numbers in the gateway address must
match the IP address you used.
422 Appendix D Setting Up a Control Surface