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
Saving and Opening Archives
An archive is a compressed duplicate of the project that’s stored within the project bundle
itself. For efficiency, the archive file lacks the thumbnail and Still Store image files that
the full version of the project contains. Archives only save the state of the internal project
file, Timeline, shot settings, grades, corrections, keyframes, and Pan & Scan settings, which
are easily compressed and occupy little space.
Whenever you manually save your project, an archive is automatically created that is
named using the date and time at which it was saved. If you want to save an archive of
your project at a particular state with a more easily identifiable name, you can use the
Save Archive As command.
To save an archive of the project with a specific name
1 Choose File > Save Archive As (or press Command-Option-S).
2 Type a name into the Archive Name field, then click Archive.
There is no limit to the number of archives you can save, so the archives list can grow
quite long. Archives are compressed using both .tar and .gzip (a “tarball”) so they take
up little room. All archive files for a particular project are saved in the Archives subdirectory
inside that project bundle.
Later, if anything should happen to your project file’s settings, or if you want to return
the project to a previously archived state, you can load one of the archive files.
To open an archive
1 Choose File > Load Archive (or press Command-Option-O).
2 Select an archive to open from the Load Archive window, then click Load Archive.
Opening an archive overwrites the current state of the project with that of the archive.
Moving Projects from Final Cut Pro to Color
One of the easiest ways of importing a project is to send a Final Cut Pro sequence to Color
using one of two XML-based workflows. This section discusses how to prepare your
projects in Final Cut Pro and how to send them using XML. For more information, see:
• Before You Export Your Final Cut Pro Project
• Using the Send To Color Command in Final Cut Pro
• Importing an XML File into Color
• Video Finishing Workflows Using Final Cut Pro
95Chapter 4 Importing and Managing Projects and Media