Document Outline

• Color User Manual
  • Contents
  • Color Documentation and Resources
    • What Is Color?
    • Using the Color Documentation
      • Color Setup Guide
      • Color Onscreen User Manual
      • Tutorials
    • Color Websites
    • Apple Service and Support Website
  • Color Correction Basics
    • What Is Color Correction?
      • The Goals of Color Correction?
    • When Does Color Correction Happen?
      • Color Management Starts During the Shoot
      • Initial Color Correction When Transferring Film
      • Color Correcting Film Versus Video
      • Traditional Means of Final Color Correction
      • Other Advantages to Telecine Transfers
    • Color Correction in Color
      • When Does Color Correction in Color Happen?
      • About Importing Projects and Media into Color
      • What Footage Does Color Work With?
      • About Exporting Projects from Color
    • Image Encoding Standards
      • The RGB Additive Color Model
      • The Y’CBCR Color Model
      • Bit Depth
    • Basic Color and Imaging Concepts
      • Contrast
      • What Is Setup
      • Luma
      • Gamma
      • Chroma (Chrominance)
      • Color Relationships
      • The HSL Color Space Model
  • Color Correction Workflows
    • An Overview of the Color Workflow
    • Limitations in Color
    • Video Finishing Workflows Using FinalCutPro
      • A Tape-Based Workflow
      • Reconforming Online Media in a Tapeless Digital Video Workflow
      • Reconforming Online Media in a Film-to-Tape Workflow
    • Importing Projects from Other Video Editing Applications
      • Importing EDLs in a FinalCutPro to Color Round Trip
      • Importing and Notching Preedited Program Masters
    • Using Color in a Digital Intermediate Workflow
      • A Tapeless DI Workflow Using Online/Offline Digital Duplicates
      • A Digital Intermediate Using a Telecined Offline/Online Workflow
    • Using EDLs, Timecode, and Frame Numbers to Conform Projects
      • How Does Color Relink DPX/Cineon Frames to an EDL?
      • Parsing EDLs for Digital Intermediate Conforms
      • Image Sequence File Naming for Conforming Digital Intermediates
  • Using the Color Interface
    • Setting Up a Control Surface
    • Using the Onscreen Controls
      • Using the Mouse
      • Tabs
      • Text Fields and Virtual Sliders
      • Timecode Fields
      • Color Controls
    • Organizational Browsers and Bins
      • The File Browser
      • The Shots Browser
      • The Grades Bin
      • Correction Bins
      • Grades Versus Corrections
      • Still Store
      • Browser, Grade and Correction Bin Controls
      • How Are Grades and Corrections Saved?
      • Reorganizing Saved Corrections and Grades in the Finder
      • Moving Saved Corrections and Grades to Other Computers
    • Using Color with One or Two Monitors
  • Importing and Managing Projects and Media
    • Creating and Opening Projects
    • Saving Projects and Archives
      • Saving and Opening Archives
      • Automatic Saving
      • What Is a Color Project?
    • Moving Projects Between FinalCutPro and Color
      • Before You Export Your FinalCutPro Project
      • Using the “Send to Color” Command in FinalCutPro
      • Importing an XML File into Color
      • Don’t Reedit Imported XML Projects in Color
      • Sending Your Project Back to FinalCutPro
      • Exporting XML for FinalCutPro Import
    • Reconforming Projects
    • Importing EDLs
    • Exporting EDLs
    • Relinking QuickTime Media
    • Importing Media Directly into The Timeline
    • Compatible Media Formats
      • Compatible QuickTime Codecs for Import
      • Compatible Third-Party QuickTime Codecs for Import
      • Compatible QuickTime Codecs for Output
      • What Codec Should You Use for Export?
      • Compatible Image Formats
    • Converting Cineon and DPX Image Sequences to QuickTime
    • Importing Color Corrections
    • Exporting JPEG Images
  • Setup
    • The File Browser
    • The Shots Browser
      • The Current Shot and Selected Shots
      • Goto Shot and Find Fields
      • Column Headers
      • Customizing the Shots Browser
      • Adding Notes to Shots
      • Selecting Shots and Navigating the Timeline Using the Shots Browser
    • Grades Bin
    • Project Settings Tab
      • Informational and Render Directory Settings
      • Resolution and Codec Settings
      • About Deinterlacing
      • What QuickTime Codec Should You Use for Export?
      • Broadcast Safe Settings
      • About Broadcast Safe
      • Rendering Settings
    • Messages Tab
    • User Preferences Tab
      • Media and Project Directories
      • Control Surface Settings
      • User Interface Settings
      • Using Proxies
      • Generating and Deleting Proxies
      • Playback, Processing, and Output Settings
      • How Do Bit Depth and Channel Data Correspond?
      • Auto Save Settings
  • Monitoring
    • The Scopes Window
      • The Preview Display
      • Using the Preview Display as Your Evaluation Monitor
      • Video Scopes
    • Monitoring Broadcast Video Output
      • Mixing and Matching Program and Viewing Resolutions
      • Bit Depth and Monitoring
      • Choose Your Monitor Carefully
      • Set Up Your Viewing Environment Carefully
      • Calibrate Your Monitor Regularly
      • Adjust the Color Interface for Your Monitoring Environment
    • Using Display LUTs
      • What Is a LUT?
      • When Do You Need a LUT?
      • When Don’t You Need a LUT?
      • Generating LUTs
      • Using LUTs
    • Monitoring the Still Store
  • Timeline Playback, Navigation, and Editing
    • Basic Timeline UI Elements
    • Customizing the Timeline Interface
    • Working with Tracks
    • Selecting the Current Shot
    • Timeline Playback
      • Starting and Stopping Playback
      • Color and JKL
      • Toggling the Playback Mode
      • Loop Playback
      • Maintain Framerate
    • Timeline Navigation
    • Selecting Shots in the Timeline
    • Working with Grades in the Timeline
    • The Settings Tabs
      • The Settings 1 Tab
      • The Settings 2 Tab
    • Editing Controls and Procedures
      • Select Tool
      • Roll Tool
      • Ripple Tool
      • Slip Tool
      • Split Tool
      • Splice Tool
      • Create an Edit
      • Merge Edits
      • Snapping
  • Video Scopes
    • What Scopes Are Available?
      • Video Scopes Accuracy
    • Video Scope Options
    • Analyzing Images Using the Video Scopes
      • Waveform
      • Vectorscope
      • Histogram
      • 3D Color Space Scope
      • Sampling Color
  • Primary In
    • What Is the Primary In Room Used For?
      • The Primary In Room Lets You Make Specific Adjustments
      • Where to Start?
    • Using the Primary Contrast Controls
      • Contrast Ratio
      • Using Contrast Sliders with a Control Surface
    • Adjusting Contrast in the Shadows, Midtones, and Highlights
      • Adjusting the Black Point with the Shadow Slider
      • Adjusting the Midtones
      • Adjusting the White Point with the Highlight Slider
      • Expanding and Reducing Image Contrast
      • Image Contrast Affects the Operation of the Color Balance Controls
    • Using Color Balance Controls
      • When Is a Color Cast a Creative Look?
      • Using Color Balance Controls with a Control Surface
    • Understanding Shadow, Midtone, and Highlight Adjustments
      • Shadows Color Adjustments
      • Midtones Color Adjustments
      • Highlights Color Adjustments
      • Color Balance Control Overlap
      • Controlling Color Balance Control Overlap
    • Curves Controls
      • How Curves Affect the Image
      • Editing Control Points and B-Splines
      • Using Curves to Adjust Contrast
      • The Luma Curve Limits the Range of the Primary Contrast Sliders
      • Using Curves to Adjust Color
      • What Is Color Contrast?
    • Basic Tab
      • Saturation Controls
      • Master Contrast Controls
    • Advanced Tab
      • RGB Controls
      • Printer Points Controls
    • Auto Balance
      • Where Do I Read About Copying, Saving, and Managing Grades?
  • Secondaries
    • What Is the Secondaries Room Used For?
    • Where to Start?
    • Choosing a Region to Correct Using the HSL Qualifiers
      • Creating Fast Secondary Keys Using the HSL Eyedropper
      • The HSL Controls
      • The Color Swatches
      • Key Blur
      • Check Your Secondary Keys During Playback
    • Previews Tab
    • Isolating a Region Using the Vignette Controls
      • Vignette Controls
      • Using the Onscreen Controls to Adjust Vignette Shapes
      • Animating Vignettes
      • Using a User Shape for Vignetting
      • Using Secondary Keying and Vignettes Together
    • Adjusting the Inside and Outside of the Selection
    • Using the Secondary Curves
      • Hue Curve Tab
      • Sat Curve Tab
      • Lum Curve Tab
    • Reset Controls
  • Color FX
    • The Color FX Interface
    • How to Make Color FX
      • How Node Trees Work
      • Node Inputs and Outputs
    • Creating and Connecting Nodes
    • Adjusting Node Parameters
    • Bypassing Nodes
    • Creating Effects in the Color FX Room
      • Using Single Input Nodes
      • Using Layering Nodes
      • Math Layering Nodes Explained
      • Isolating Portions of an Image
    • Using Color FX with Interlaced Shots
    • Saving Favorite Effects in the Color FX Bin
    • Node Reference Guide
      • Layer Nodes
      • Effects Nodes
      • Utility Nodes
  • Primary Out
    • Using the Primary Out Room
    • Making Extra Corrections Using the Primary In Room
    • Understanding the Image Processing Pipeline
    • Using the Ceiling Controls
  • Managing Corrections and Grades
    • The Difference Between Corrections and Grades
    • Saving and Using Corrections and Grades
      • Saving Corrections into Correction Bins
      • Saving Grades into the Grades Bin
      • Deleting Saved Corrections and Grades
      • Organizing Saved Corrections and Grades with Folders in Color
      • Reorganizing Saved Corrections and Grades in the Finder
    • Applying Saved Corrections and Grades to Shots
    • Managing Grades in the Timeline
      • Adding and Selecting Grades Among Multiple Grades
      • Resetting Grades in the Timeline
      • Copying Corrections and 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
      • Selecting Shots and Navigating in the Shots Browser in Icon View
      • Choosing Grades in Icon View
      • Grouping and Ungrouping Shots
      • Working with Groups
    • Using the Primary, Secondary, and Color FX Rooms Together to Manage Each Shot’s Corrections
      • Doing Everything in One Room
      • Grading Across Multiple Rooms
  • Keyframing
    • Why Keyframe an Effect?
    • How Keyframing Works in Different Rooms
      • Keyframing Corrections in the Primary In and Out Rooms
      • Keyframing Secondary Corrections
      • Keyframing Color FX
      • Keyframing Pan & Scan Effects
      • Keyframing User Shapes
    • Working with Keyframes in the Timeline
    • Keyframe Interpolation
  • Geometry
    • Navigating Within the Image Preview
    • The Pan & Scan Tab
      • Importing and Exporting Geometry Settings with FinalCutPro
      • Working with the Pan & Scan Tab
      • Animating Pan & Scan Settings with Keyframes and Trackers
      • Copying and Resetting Pan & Scan Settings
    • Shapes Tab
      • Controls in the Shapes Tab
      • Saving and Loading Favorite Shapes
      • Drawing Shapes
      • Animating Shapes with Keyframes and Trackers
    • Tracking Tab
      • Using Motion Tracking
      • Will Motion Tracking Solve All Your Problems?
      • Controls in the Tracking Tab
      • Working with the Tracking Tab
      • Using Trackers in the Secondary, Color FX, and Geometry Rooms
  • Still Store
    • Saving Images to the Still Store
      • Why Is My Project Getting So Big?
    • Saving Still Store Images in Subdirectories
    • Removing Images from the Still Store
    • Recalling Images from the Still Store
    • Customizing the Still Store View
    • Controls in the Still Store Bin
  • Render Queue
    • About Rendering in Color
      • The Graphics Card You’re Using Affects the Rendered Output
    • Which Effects Does Color Render?
      • Rendered Effects for 2K Output
      • Effects Aren’t Rendered When Sending to FinalCutPro
    • The Render Queue Interface
    • How to Render Shots in Your Project
    • Rendering Multiple Grades for Each Shot
    • Gather Rendered Media
  • Calibrating Your Monitor
    • About Color Bars
      • When Should You Use Color Bars?
    • Calibrating Video Monitors With Color Bars
      • Calibrating Your Broadcast Monitor
      • Y´CBCR Rendering and Color Bars
  • Keyboard Shortcuts
    • Project Shortcuts
    • Switching Rooms and Windows
    • Playback and Navigation
    • Grade Shortcuts
    • Timeline Specific Shortcuts
    • Editing Shortcuts
    • Keyframing Shortcuts
    • Shortcuts in the Shots Browser
    • Shortcuts in the Geometry Room
    • Still Store Shortcuts
    • Render Queue Shortcuts
  • Setting Up a Control Surface
    • JLCooper MCS-3000, MCS-Spectrum, MCS-3400, and MCS- 3800 Control Surfaces
      • Configuring the MCS-3000 and MCS-Spectrum Control Surfaces
      • Controls for the MCS-3000 and MCS-Spectrum
    • Tangent Devices CP100 Control Surface
      • Configuring the CP100 Control Surface
      • Controls in the CP100
    • Tangent Devices CP200 Series Control Surface
      • Configuring the CP200 Series Control Surfaces
      • Controls in the CP200 Series of Controllers
    • Customizing Control Surface Sensitivity
  • Index
    • A
    • B
    • C
    • D
    • E
    • F
    • G
    • H
    • I
    • J
    • K
    • L
    • M
    • N
    • O
    • P
    • Q
    • R
    • S
    • T
    • U
    • V
    • W
    • X
    • Y
    • Z