Document Outline

• Color User Manual
  • Contents
  • Welcome to Color
    • About Color
    • About the Color Documentation
    • Additional Resources
  • Color Correction Basics
    • The Fundamental Color Correction Tasks
    • When Does Color Correction Happen?
      • Color Management Starts During the Shoot
      • Initial Color Correction When Transferring Film
      • Traditional Means of Final Color Correction
        • Color Timing for Film
        • Tape-to-Tape Color Correction
        • Color Correcting via a Second Telecine Pass
      • Advantages of Grading with Color
        • When Does Color Correction in Color Happen?
        • About Importing Projects and Media into Color
        • About Exporting Projects from Color
    • Image Encoding Standards
      • The RGB Additive Color Model Explained
      • The Y′CBCR Color Model Explained
      • Chroma Subsampling Explained
      • Bit Depth Explained
    • Basic Color and Imaging Concepts
      • Contrast Explained
      • Luma Explained
      • Gamma Explained
      • Chroma Explained
        • Hue
        • Saturation
      • Primary and Secondary Color Relationships Explained
        • Primary Colors
        • Secondary Colors
        • Complementary Colors
      • The HSL Color Space Model Explained
  • Color Correction Workflows
    • An Overview of the Color Workflow
    • Limitations in Color
    • Video Finishing Workflows Using Final Cut Pro
      • 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 Final Cut Pro–to–Color Roundtrip
      • Importing and Notching Preedited Program Masters
    • Digital Cinema Workflows Using Apple ProRes 4444
    • Finishing Projects Using RED Media
      • Offline Using Apple ProRes; Finishing with RED Media
      • Editing and Finishing with RED QuickTime Media
      • RED Metadata Versus Color Processing in Transcoded Media
    • Digital Intermediate Workflows Using DPX/Cineon Media
      • A Tapeless DI Workflow
      • A Digital Intermediate Workflow Using Telecined Media
    • Using EDLs, Timecode, and Frame Numbers to Conform Projects
      • How Does Color Relink DPX/Cineon Frames to an EDL?
        • How Is Film Tracked Using Timecode?
        • How Color Relinks DPX/Cineon Media to EDLs Using Timecode
        • Relinking DPX/Cineon Frames to an EDL Using a Cinema Tools Database
      • Parsing EDLs for Digital Intermediate Conforms
      • Required Image Sequence Filenaming
  • Using the Color Interface
    • Setting Up a Control Surface
    • Using Onscreen Controls
      • Using the Mouse
      • Tabs
      • Using Text Fields and Virtual Sliders
      • Using Timecode Fields
      • Using Color Balance Controls
    • Using Organizational Browsers and Bins
      • The File Browser
        • Collapsing the File Browser
      • The Shots Browser
      • The Grades Bin
      • Corrections Bins
      • Browser, Still Store, Grades, and Corrections Bins Controls
        • Display Controls
        • Directory Navigation Controls
        • File Controls
      • How Are Grades and Corrections Saved and Organized?
        • 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
      • What Is a Color Project?
    • 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
    • Importing EDLs
    • EDL Import Settings
    • Relinking Media
    • Importing Media Directly into the Timeline
    • Compatible Media Formats
      • Compatible QuickTime Codecs for Import
      • Compatible Third-Party QuickTime Codecs
      • Compatible QuickTime Codecs for Output
      • Compatible Image Sequence Formats
    • Moving Projects from Color to Final Cut Pro
      • Sending Your Project Back to Final Cut Pro
      • Exporting XML for Final Cut Pro Import
      • Revising Projects After They’re Sent 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
      • File Browser Controls
      • Media Information and DPX/Cineon Header Metadata
        • Fix Headers Button
        • Import Button
    • Using the Shots Browser
      • Shots Browser Controls
        • Choosing the Current Shot and Selecting Shots in the Shots Browser
        • Goto Shot and Find Fields in the Shots Browser
      • Column Headers in the Shots Browser
        • Possible Render States in the Status Column
        • Possible Flags in the Reconform Column
        • Explanation of Percentages in the Match Column
      • Customizing the Shots Browser
      • Adding Notes to Shots in the Shots Browser
      • Selecting Shots and Navigating Using the Shots Browser
    • The Grades Bin
    • The Project Settings Tab
      • Informational and Render Directory Settings
      • Resolution and Codec Settings
      • Broadcast Safe Settings
      • Handles
    • The Messages Tab
    • The User Preferences Tab
      • Media and Project Directories
      • Control Surface Settings
      • User Interface Settings
      • Grade and Scope Color Controls
      • Limit Shadow Adjustments and Show Control Surface Controls
      • Using Proxies
        • Generating and Deleting Proxies
      • Playback, Processing, and Output Settings
      • How Do Bit Depth and Channel Data Correspond?
      • Auto Save Settings
  • Monitoring Your Project
    • The Scopes Window and Preview Display
    • 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?
      • Generating LUTs
        • Create One Yourself Using Third-Party Software
        • Have One Created for You
        • Creating LUTs in Color
      • Using LUTs
    • Monitoring the Still Store
  • Timeline Playback, Navigation, and Editing
    • Basic Timeline Elements
    • Customizing the Timeline Interface
      • Customizing Unit and Information Display
      • Resizing Tracks in the Timeline
    • Working with Tracks
    • Selecting the Current Shot
    • Timeline Playback
      • Starting and Stopping Playback
      • Switching the Playback Mode
        • Shot Mode
        • Movie Mode
        • Placing Your Own In and Out Points
      • Loop Playback
      • Maintain Framerate
    • 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
      • Select Tool
      • Roll Tool
      • Ripple Tool
      • Slip Tool
      • Split Tool
      • Splice Tool
      • Create an Edit Command
      • Merge Edits Command
      • Snapping
  • Analyzing Signals Using the Video Scopes
    • What Scopes Are Available?
    • Video Scope Options
    • Analyzing Images Using the Video Scopes
      • The Waveform Monitor
        • What Is a Waveform?
        • Changing the Graticule Values
        • Waveform Analysis Modes
      • The Parade Scope
      • The Overlay Scope
      • The Red/Green/Blue Channels Scopes
      • The Luma Scope
      • The Chroma Scope
      • The Y′CBCR Scope
      • The Vectorscope
        • Comparing Saturation with the Vectorscope
        • Spotting Color Casts with the Vectorscope
        • The Color Targets
        • The I Bar
        • The Q Bar
      • The Histogram
        • The RGB Histogram
        • The R, G, and B Histograms
        • The Luma Histogram
      • The 3D Scope
        • The RGB Color Space
        • The HSL Color Space
        • The Y′CBCR Color Space
        • The IPT Color Space
      • Sampling Color for Analysis
  • The Primary In Room
    • What Is the Primary In Room Used For?
    • Where to Start in the Primary In Room?
      • Stage 1: Adjusting the Contrast of the Image
      • Stage 2: Adjusting the Color Balance of the Image
      • Stage 3: Adjusting the Saturation of the Image
      • Stage 4: Making More Specific Adjustments
    • Contrast Adjustment Explained
      • What Is the Contrast Ratio of a Shot?
    • Using the Primary Contrast Controls
      • Adjusting the Black Point with the Shadow Slider
      • Adjusting the Midtones with the Midtone Slider
      • Adjusting the White Point with the Highlight Slider
      • Expanding and Reducing Image Contrast
      • Contrast Affects Color Balance Control Operation
    • Color Casts Explained
    • Using Color Balance Controls
      • Rebalancing a Color Cast
      • About Shadows, Midtones, and Highlights Adjustments
        • Shadows Color Adjustments
        • Midtones Color Adjustments
        • Highlights Color Adjustments
      • Color Balance Control Overlap Explained
      • Controlling Color Balance Control Overlap
    • The Curves Controls
      • How Curves Affect the Image
      • Curve Editing Control Points and B-Splines
      • Using Curves to Adjust Contrast
        • An Example of the Luma Curve in Use
      • Using Curves to Adjust Color
        • Correcting a Color Cast Using Curves
    • The Basic Tab
      • Saturation Controls
      • Master Contrast Controls
    • The Advanced Tab
      • RGB Controls
      • Printer Points Controls
        • What Is a Printer Point?
        • Making Adjustments Using Printer Points
        • The Printer Points Parameters
    • Using the Auto Balance Button
    • The RED Tab
  • The Secondaries Room
    • What Is the Secondaries Room Used For?
    • Where to Start in the Secondaries Room?
      • Stage 1: Isolating the Region You Need to Adjust
      • Stage 2: Making Color Balance, Contrast, and Saturation Adjustments
      • Stage 3: Moving Through the Eight Tabs to Make More Corrections
    • The Enabled Button in the Secondaries Room
    • Choosing a Region to Correct Using the HSL Qualifiers
      • Creating Fast Secondary Keys Using the HSL Eyedropper
      • The HSL Controls
        • HSL Qualifiers Explained
        • HSL Qualifier Controls
        • Adjusting the HSL Controls
      • The Color Swatches
      • Key Blur
    • Controls in the Previews Tab
    • Isolating a Region Using the Vignette Controls
      • The Vignette Controls
        • Parameters That Adjust Square or Circle Vignettes
      • Using the Onscreen Controls to Adjust Vignette Shapes
      • Creating a User Shape for Vignetting
      • Using Secondary Keying and Vignettes Together
    • Adjusting the Inside and Outside of a Secondary Operation
    • The Secondary Curves Explained
      • Using the Secondary Curves
        • The Hue Curve Tab
        • The Sat Curve Tab
        • The Lum Curve Tab
    • Reset Controls in the Secondaries Room
  • The Color FX Room
    • The Color FX Interface Explained
    • How to Create Color FX
      • How Node Trees Work
      • Node Inputs and Outputs Explained
      • Creating and Connecting Nodes
      • Adjusting Node Parameters
      • Viewing a Node’s Output While Adjusting Another’s Parameters
      • Bypassing Nodes
      • Cutting, Copying, and Pasting Nodes
    • Creating Effects in the Color FX Room
      • Using Single Input Nodes
      • Using Layering Nodes
      • Math Layering Nodes Explained
        • Add
        • Difference
        • Multiply
      • Creating Layered Effects Using Mattes
    • Using Color FX with Interlaced Shots
    • Saving Favorite Effects in the Color FX Bin
    • Node Reference Guide
      • Layer Nodes
        • Add
        • Alpha Blend
        • Blend
        • Darken
        • Difference
        • Interlace
        • Lighten
        • Multiply
        • RGB Merge
      • Effects Nodes
        • B&W
        • Bleach Bypass
        • Blur
        • Clamp
        • Curve
        • Duotone
        • Edge Detector
        • Exposure
        • Film Grain
        • Film Look
        • Gain
        • Gamma
        • Grain Reduction
        • Hue
        • Invert
        • Lift
        • Maximum
        • Minimum
        • Printer Lights
        • Saturation
        • Scale RGB
        • Sharpen
        • Smooth Step
        • Stretch
        • Translate
      • Utility Nodes
        • Color
        • Deinterlace
        • HSL Key
        • Output
        • RGB Split
        • Vignette
  • The Primary Out Room
    • What Is the Primary Out Room Used For?
    • Making Extra Corrections Using the Primary Out Room
    • Understanding the Image Processing Pipeline
    • Ceiling Controls
  • Managing Corrections and Grades
    • The Difference Between Corrections and Grades
    • Saving and Using Corrections and Grades
      • Saving Corrections into Corrections Bins
      • Saving Grades into the Grades Bin
      • Deleting Saved Corrections and Grades
      • Organizing Saved Corrections and Grades with Folders
      • Applying Saved Corrections and Grades to Shots
    • Managing Grades in the Timeline
      • Adding and Selecting 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
      • Navigating and Arranging Shots in Icon View
      • Choosing Grades in Icon View
      • Selecting Shots in the Shots Browser in Icon View
      • Grouping and Ungrouping Shots
      • Working with Groups
    • Managing a Shot’s Corrections Using Multiple Rooms
      • Grading a Shot Using Multiple Rooms
  • Keyframing
    • Why Keyframe an Effect?
    • Keyframing Limitations
    • 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
  • The Geometry Room
    • Navigating Within the Image Preview
    • The Pan & Scan Tab
      • Exchanging Geometry Settings with Final Cut Pro
      • Working with the Pan & Scan Tab
        • Using the Onscreen Controls
        • Using the Pan & Scan Parameters
      • Animating Pan & Scan Settings with Keyframes and Trackers
      • Copying and Resetting Pan & Scan Settings
    • The Shapes Tab
      • Controls in the Shapes Tab
      • About the Shapes List
      • Drawing Shapes
      • Animating Shapes with Keyframes and Trackers
    • The Tracking Tab
      • Using Motion Tracking to Animate Vignettes and Shapes
      • Controls in the Tracking Tab
      • Using the Tracking Tab
  • The Still Store
    • Saving Images to the Still Store
    • Saving Still Store Images in Subdirectories
    • Removing Images from the Still Store
    • Recalling Images from the Still Store
    • Customizing the Still Store View
      • Still Store View Settings
      • Controls in the Still Store Bin
  • The Render Queue
    • About Rendering in Color
      • Which Effects Does Color Render?
      • Some Media Formats Require Rendering to a Different Format
      • Rendering Mixed Format Sequences
      • Rendering Projects That Use Multiclips
    • The Render Queue Interface
      • Render Queue Controls
    • How to Render Shots in Your Project
    • Rendering Multiple Grades for Each Shot
    • Managing Rendered Shots in the Timeline
    • Examining the Color Render Log
    • Choosing Printing Density When Rendering DPX Media
    • Gather Rendered Media
  • Appendix A: Calibrating Your Monitor
    • About Color Bars
    • Calibrating Video Monitors with Color Bars
  • Appendix B: Keyboard Shortcuts in Color
    • Project Shortcuts
    • Switching Rooms and Windows
    • Scopes Window Shortcuts
    • 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
  • Appendix C: Using Multi-Touch Controls in Color
    • Multi-Touch Control of the Timeline
    • Multi-Touch Control in the Shots Browser
    • Multi-Touch Control of the Scopes
    • Multi-Touch Control in the Geometry Room
    • Multi-Touch Control in the Image Preview of the Scopes Window
  • Appendix D: Setting Up a Control Surface
    • JLCooper Control Surfaces
      • Configuring the MCS-3000 and MCS-Spectrum Control Surfaces
      • Controls for the MCS-3000
        • Using the Navigational Controls
      • Controls for the MCS-Spectrum
    • Tangent Devices CP100 Control Surface
      • Controls in the CP100
    • Tangent Devices CP200 Series Control Surface
      • Configuring the CP200 Series Control Surfaces
      • Controls in the CP200-BK (Trackerball/Knob Panel)
      • Controls in the CP200-TS (Transport/Selection Panel)
      • Controls in the CP200-K (Knob/Button Panel)
    • Customizing Control Surface Sensitivity