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 you did an inexpensive one-light telecine pass to an offline video format, you'll want
to do another telecine pass where you transfer only the media you used in the program
at high quality. Using Cinema Tools, you can generate a pull list, which you then use
to carefully retransfer the necessary footage to an online-quality video format. Then,
you need to recapture the new online transfer of this media using the highest-quality
uncompressed QuickTime format that you can accommodate on your computer.
Important: Do not use the Media Manager to either rename or delete unused media in
your project when working with offline media that refers to the camera negative. If you
do, you'll lose the ability to create accurate pull lists in Cinema Tools.
Stage 6: Prerendering Effects, Sending the Sequence to Color, and Grading
At this point, the workflow is identical to Stage 6: Grading Your Program in Color in A
Tape-Based Workflow.
Importing Projects from Other Video Editing Applications
Color is also capable of importing projects from other editing environments, by importing
edit decision lists (EDLs). An EDL is an event-based list of all the edits and transitions that
make up a program.
Once you've imported your project file into Color and copied the program media onto a
storage device with the appropriate performance, you can then link the shots on the
Color Timeline with their corresponding media.
• For more information about importing EDLs into Final Cut Pro before sending to Color,
see Importing EDLs in a Final Cut Pro–to–Color Roundtrip.
• For more information about importing EDLs directly into Color, see Importing and
Notching Preedited Program Masters.
Importing EDLs in a Final Cut Pro–to–Color Roundtrip
If you've been provided with an edit decision list of the edited program and a box of
source media, you can import the EDL into Final Cut Pro to capture the project's media
and prepare the project for sending to Color. In addition to being able to recapture the
footage, Final Cut Pro is compatible with more EDL formats than is Color. Also, Final Cut Pro
is capable of reading superimpositions, all SMPTE standard transitions, and audio edits,
in addition to the video edits.
47Chapter 2 Color Correction Workflows