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
Stage 11: Creating Additional Transitions, Effects, and Titles
In a 2K or 4K workflow, you can also use a compositing application such as Shake to create
additional transitions or layered effects, including superimpositions, titles, and other
composites, after the color correction has been completed.
Each image file's frame number identifies its position in that program's Timeline. Because
of this, when you send frames to a compositing application, it's vital that the frame
numbers in filenames of newly rendered media are identical to those of the original
source media. This requires careful file management.
Finishing Projects Using RED Media
RED media has become an important acquisition format for both broadcast and digital
cinema. When you install the necessary software to use RED media with Final Cut Studio,
you get access to a variety of workflows for ingesting, grading, and mastering programs
using native RED QuickTime movies in Final Cut Pro and Color.
This section describes the various RED workflows that Final Cut Studio supports. For
information about grading controls that are specific to native RED QuickTime clips, see
The RED Tab.
When you’re working on a project that uses RED media, there are essentially four workflows
you can follow:
Transcode All Native RED QuickTime Media to Apple ProRes 422 (HQ)
If you’re mastering specifically to video, one very simple workflow is to transcode from
RED to Apple ProRes 422 (HQ) clips, and then master Apple ProRes 422 (HQ). After initially
ingesting and transcoding using the Log and Transfer window, this workflow is similar
to the master flowchart shown in Video Finishing Workflows Using Final Cut Pro.
Keep in mind that whenever you transcode native RED R3D media to Apple ProRes using
the Log and Transfer window, you preprocess the original RAW image data. For more
information, see RED Metadata Versus Color Processing in Transcoded Media.
• Advantages: Simple workflow for video mastering. Apple ProRes 422 (HQ) can be easily
edited on most current computers. Apple ProRes 422 (HQ) is suitable for high definition
video mastering, and media can be sent directly to Color for finishing without the need
to reconform.
• Disadvantages: Transcoding may take a long time. You lose the quality advantage of
being able to grade and finish using the RAW RGB 4:4:4 data that native RED QuickTime
files provide.
56 Chapter 2 Color Correction Workflows