Apple Final Cut Pro 5 - Manual (Page 1812)

Index 461
video monitors and I-209
color balance III-412
Color Balance controls III-434, III-444, III-445–III-446,
III-453–III-455
Color Balance filter III-207
color balance process IV-415
color bars III-553, IV-194, IV-415
calibrating broadcast monitors with I-331–I-334
calibrating video signals with I-322
described I-321
in Waveform Monitor I-326
Color Bars setting IV-194
color calibration
broadcast monitors I-331–I-334
hardware and I-330–I-331
color conversions III-552
color correction I-210, III-411–III-487, IV-60, IV-415
basic steps III-434–III-435
broadcast safe correction III-486–III-487
chip charts III-414
comparing colors III-468
comparing two clips III-436
desaturation filters III-483–III-485
described III-411–III-413
during filming III-413
examples of III-448–III-452, III-457–III-470, III-473–
III-476, III-479–III-483, III-485
Hue Matching controls III-471–III-476
keying process and III-392
postproduction III-414–III-417
primary color correction III-434, III-438
projects shot on film III-414–III-416
projects shot on videotape III-416
screen layouts III-423
tape-to-tape III-416
telecines III-414–III-416
tools for III-417
uses for III-411–III-413
using a chip chart III-414
color correction filters III-205
See also specific filter names
in Final Cut Pro III-437–III-438
location of III-438
trackball and III-455
Color Correction screen layout I-142
Color Corrector 3-way filter III-195, III-205, III-434,
III-437, III-453–III-483
Color Balance controls III-444
examples of using III-457–III-470, III-473–III-476
settings III-439–III-444, III-453–III-457, III-476–
III-478
visual controls III-438, III-453–III-457, III-476–
III-478
Color Corrector filter II-284, III-205, III-434, III-437,
III-439–III-452, III-466–III-483
Color Balance controls III-444
examples of using III-448–III-452, III-466–III-470
settings III-439–III-447, III-476–III-478
visual controls III-438, III-445–III-447, III-476–
III-478
color depth IV-415
color gradients III-396
colorists III-417, IV-415
Color Key filter III-208
Color Matte generator III-491
Color Offset filter III-204
color picker III-198, III-501
color ranges
Chroma Keyer filter III-396
limiting effects III-477
color recording methods IV-350, IV-361
color sampling IV-350, IV-361, IV-362
Color Smoothing - 4:1:1 filter III-208
Color Smoothing - 4:2:2 filter III-208
Color Smoothing filter III-391
color space II-90, III-551–III-553
CMYK IV-415
compositing and III-552
conversion III-551
described III-549
Rec 709 IV-27
RGB IV-25, IV-371, IV-432
settings III-553
updating projects and IV-25, IV-26
Y´CbCr IV-25, IV-28
color spill III-392, III-402
color standards III-552
color subcarrier frequency IV-354
columns
in Browser I-59–I-60, I-62–I-66, IV-34–IV-40
customizing I-60, I-62–I-66
in Export Queue window IV-273–IV-274
hiding I-302
logging columns I-60
showing I-302
standard columns I-60
Command key III-122
“gearing down” with II-199, II-348
selecting items with II-182
commands
display settings I-146
keyboard shortcuts I-146
shortcut buttons I-154
Comment Column Headings option II-75
Comment columns in Browser I-65–I-66
Comment property IV-32, IV-36, IV-50
comments
columns in Browser I-65–I-66
in logging process I-250
comments in markers II-60, II-62, II-64, II-189
common sync sources I-206
Component analog video