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 1: Archiving the Original RED Media
It’s always recommended that you archive all of the original RED media for your project
onto one or more backed-up volumes. Whether you’re shooting with CF cards or a RED
drive, you should always copy the entire contents of each CF card or drive that you’ve
finished recording with to an individually named folder on your archive volume.
• If you’re using CF cards: The contents of each card should be copied into separate
directories. For example, if you’ve shot a project using 12 CF cards, at the end of the
process you should have 12 different directories (perhaps named “MyGreatProject_01”
through “MyGreatProject_12”), each of which contains the entire contents of the CF
card to which it corresponds.
• If you’re using RED drives: You should copy the entire contents of the drive to a new
folder every time you fill it up or are finished with a particular part of your shoot. For
example, if you’re archiving the contents of the drive after every day’s shoot, then after
four days you should have four directories (perhaps named “MyGreatProject _Day01”
through “MyGreatProject_Day04”).
Each folder or disk image you copy RED media into must have a unique name; preferably
one that clearly identifies the contents. After you copy the RED media into these folders,
they will contain one or more sub-folders with an .RDM extension that contain the actual
RED media. The name of the enclosing RDM folder will be used as the reel name for each
clip that’s ingested by Final Cut Pro during the log and transfer process.
After you initially copy the RED media, you may elect to change the name of the RDM
folders to something more readable (the .RDM extension itself is optional). If you make
such changes, make sure that the name of each folder is unique, and do not under any
circumstances change the names of any folders or files that appear within.
After you've ingested the media using the Log and Transfer window, do not change the
name of the RDM folder again. Doing so will jeopardize your ability to later reconform
offline sequences to the original RED source media.
Important: It's not recommended to enter new reel names for RED media that you ingest
using the Reel field of the Log and Transfer window.
Stage 2: Ingesting Media Using Apple ProRes to Perform the Offline-Quality Edit
If it’s necessary to edit your program at offline quality for efficiency, transcode the archived
RED media to one of the Apple ProRes codecs using the Log and Transfer window in
Final Cut Pro.
See the Final Cut Pro 7 User Manual for more information about transcoding on ingest,
and which codec to choose for offline work.
59Chapter 2 Color Correction Workflows