Color User Manual

Color User Manual......Page 1
Contents......Page 3
About Color......Page 9
Additional Resources......Page 10
The Fundamental Color Correction Tasks......Page 13
Color Management Starts During the Shoot......Page 16
Initial Color Correction When Transferring Film......Page 17
Color Timing for Film......Page 18
Tape-to-Tape Color Correction......Page 19
Color Correcting via a Second Telecine Pass......Page 20
When Does Color Correction in Color Happen?......Page 22
Image Encoding Standards......Page 23
Chroma Subsampling Explained......Page 24
Bit Depth Explained......Page 27
Contrast Explained......Page 28
Luma Explained......Page 30
Hue......Page 31
Secondary Colors......Page 32
Complementary Colors......Page 33
The HSL Color Space Model Explained......Page 34
An Overview of the Color Workflow......Page 35
Limitations in Color......Page 37
Video Finishing Workflows Using Final Cut Pro......Page 39
A Tape-Based Workflow......Page 40
Reconforming Online Media in a Tapeless Digital Video Workflow......Page 44
Reconforming Online Media in a Film-to-Tape Workflow......Page 45
Importing EDLs in a Final Cut Pro–to–Color Roundtrip......Page 47
Importing and Notching Preedited Program Masters......Page 48
Digital Cinema Workflows Using Apple ProRes 4444......Page 50
Finishing Projects Using RED Media......Page 56
Offline Using Apple ProRes; Finishing with RED Media......Page 58
Editing and Finishing with RED QuickTime Media......Page 62
RED Metadata Versus Color Processing in Transcoded Media......Page 64
A Tapeless DI Workflow......Page 65
A Digital Intermediate Workflow Using Telecined Media......Page 70
How Is Film Tracked Using Timecode?......Page 73
Relinking DPX/Cineon Frames to an EDL Using a Cinema Tools Database......Page 74
Parsing EDLs for Digital Intermediate Conforms......Page 75
Required Image Sequence Filenaming......Page 76
Using the Color Interface......Page 77
Using Onscreen Controls......Page 78
Using Text Fields and Virtual Sliders......Page 79
Using Timecode Fields......Page 80
Using Color Balance Controls......Page 81
The File Browser......Page 82
Collapsing the File Browser......Page 83
The Grades Bin......Page 84
Display Controls......Page 85
File Controls......Page 86
How Are Grades and Corrections Saved and Organized?......Page 87
Using Color with One or Two Monitors......Page 88
Importing and Managing Projects and Media......Page 91
Saving Projects......Page 92
What Is a Color Project?......Page 93
Moving Projects from Final Cut Pro to Color......Page 95
Divide Long Projects into Reels......Page 96
Use Uncompressed or Lightly Compressed Still Image Formats......Page 97
Recapture Offline Media at Online Quality, If Necessary......Page 98
Using the Send To Color Command in Final Cut Pro......Page 99
Importing an XML File into Color......Page 100
Importing EDLs......Page 101
EDL Import Settings......Page 102
Relinking Media......Page 104
Importing Media Directly into the Timeline......Page 105
Compatible QuickTime Codecs for Import......Page 106
Compatible QuickTime Codecs for Output......Page 109
Compatible Image Sequence Formats......Page 111
Sending Your Project Back to Final Cut Pro......Page 112
Exporting XML for Final Cut Pro Import......Page 113
Exporting EDLs......Page 114
Converting Cineon and DPX Image Sequences to QuickTime......Page 115
Importing Color Corrections......Page 117
Exporting JPEG Images......Page 118
The File Browser......Page 119
File Browser Controls......Page 120
Fix Headers Button......Page 121
Shots Browser Controls......Page 122
Goto Shot and Find Fields in the Shots Browser......Page 123
Possible Render States in the Status Column......Page 124
Customizing the Shots Browser......Page 125
Adding Notes to Shots in the Shots Browser......Page 126
Selecting Shots and Navigating Using the Shots Browser......Page 127
The Grades Bin......Page 128
Informational and Render Directory Settings......Page 129
Resolution and Codec Settings......Page 130
Broadcast Safe Settings......Page 133
The User Preferences Tab......Page 135
Media and Project Directories......Page 136
Control Surface Settings......Page 137
User Interface Settings......Page 138
Grade and Scope Color Controls......Page 139
Limit Shadow Adjustments and Show Control Surface Controls......Page 140
Using Proxies......Page 141
Playback, Processing, and Output Settings......Page 142
Auto Save Settings......Page 147
The Scopes Window and Preview Display......Page 149
Bit Depth and Monitoring......Page 151
Choose Your Monitor Carefully......Page 152
Using Display LUTs......Page 153
What Is a LUT?......Page 154
When Do You Need a LUT?......Page 156
Creating LUTs in Color......Page 157
Using LUTs......Page 158
Monitoring the Still Store......Page 159
Timeline Playback, Navigation, and Editing......Page 161
Basic Timeline Elements......Page 162
Customizing Unit and Information Display......Page 163
Resizing Tracks in the Timeline......Page 164
Working with Tracks......Page 165
Timeline Playback......Page 166
Starting and Stopping Playback......Page 167
Loop Playback......Page 168
Zooming In and Out of the Timeline......Page 169
Timeline Navigation......Page 170
Selecting Shots in the Timeline......Page 171
Working with Grades in the Timeline......Page 172
The Settings 1 Tab......Page 174
The Settings 2 Tab......Page 175
Select Tool......Page 176
Roll Tool......Page 177
Slip Tool......Page 178
Split Tool......Page 179
Create an Edit Command......Page 180
Snapping......Page 181
What Scopes Are Available?......Page 183
Video Scope Options......Page 185
What Is a Waveform?......Page 187
Changing the Graticule Values......Page 188
The Parade Scope......Page 189
The Red/Green/Blue Channels Scopes......Page 192
The Luma Scope......Page 193
The Y′CBCR Scope......Page 194
Comparing Saturation with the Vectorscope......Page 195
The Color Targets......Page 196
The I Bar......Page 197
The RGB Histogram......Page 198
The Luma Histogram......Page 199
The RGB Color Space......Page 200
The Y′CBCR Color Space......Page 201
The IPT Color Space......Page 202
Sampling Color for Analysis......Page 203
What Is the Primary In Room Used For?......Page 207
Where to Start in the Primary In Room?......Page 208
Stage 3: Adjusting the Saturation of the Image......Page 209
Contrast Adjustment Explained......Page 210
What Is the Contrast Ratio of a Shot?......Page 211
Using the Primary Contrast Controls......Page 212
Adjusting the Black Point with the Shadow Slider......Page 213
Adjusting the Midtones with the Midtone Slider......Page 215
Adjusting the White Point with the Highlight Slider......Page 217
Expanding and Reducing Image Contrast......Page 219
Color Casts Explained......Page 222
Using Color Balance Controls......Page 224
Rebalancing a Color Cast......Page 225
About Shadows, Midtones, and Highlights Adjustments......Page 227
Shadows Color Adjustments......Page 229
Midtones Color Adjustments......Page 230
Highlights Color Adjustments......Page 231
Controlling Color Balance Control Overlap......Page 232
How Curves Affect the Image......Page 234
Curve Editing Control Points and B-Splines......Page 236
Using Curves to Adjust Contrast......Page 237
An Example of the Luma Curve in Use......Page 239
Using Curves to Adjust Color......Page 241
Correcting a Color Cast Using Curves......Page 242
The Basic Tab......Page 245
Saturation Controls......Page 246
Master Contrast Controls......Page 248
RGB Controls......Page 249
Making Adjustments Using Printer Points......Page 250
Using the Auto Balance Button......Page 251
The RED Tab......Page 252
The Secondaries Room......Page 257
What Is the Secondaries Room Used For?......Page 258
Stage 1: Isolating the Region You Need to Adjust......Page 259
The Enabled Button in the Secondaries Room......Page 260
Choosing a Region to Correct Using the HSL Qualifiers......Page 261
Creating Fast Secondary Keys Using the HSL Eyedropper......Page 262
The HSL Controls......Page 264
HSL Qualifier Controls......Page 265
Adjusting the HSL Controls......Page 266
Key Blur......Page 267
Controls in the Previews Tab......Page 268
Isolating a Region Using the Vignette Controls......Page 270
The Vignette Controls......Page 271
Parameters That Adjust Square or Circle Vignettes......Page 272
Using the Onscreen Controls to Adjust Vignette Shapes......Page 273
Creating a User Shape for Vignetting......Page 274
Adjusting the Inside and Outside of a Secondary Operation......Page 277
The Secondary Curves Explained......Page 278
The Hue Curve Tab......Page 281
The Sat Curve Tab......Page 282
Reset Controls in the Secondaries Room......Page 283
The Color FX Room......Page 285
How to Create Color FX......Page 286
How Node Trees Work......Page 287
Node Inputs and Outputs Explained......Page 288
Creating and Connecting Nodes......Page 289
Adjusting Node Parameters......Page 291
Viewing a Node’s Output While Adjusting Another’s Parameters......Page 292
Bypassing Nodes......Page 293
Creating Effects in the Color FX Room......Page 294
Using Layering Nodes......Page 295
Add......Page 297
Creating Layered Effects Using Mattes......Page 298
Using Color FX with Interlaced Shots......Page 300
Saving Favorite Effects in the Color FX Bin......Page 301
Alpha Blend......Page 302
Effects Nodes......Page 303
Duotone......Page 304
Film Look......Page 305
Gamma......Page 306
Lift......Page 307
Saturation......Page 308
Stretch......Page 309
Output......Page 310
Vignette......Page 311
What Is the Primary Out Room Used For?......Page 313
Understanding the Image Processing Pipeline......Page 314
Ceiling Controls......Page 315
The Difference Between Corrections and Grades......Page 317
Saving Corrections into Corrections Bins......Page 318
Saving Grades into the Grades Bin......Page 320
Deleting Saved Corrections and Grades......Page 322
Organizing Saved Corrections and Grades with Folders......Page 323
Applying Saved Corrections and Grades to Shots......Page 324
Adding and Selecting Among Multiple Grades......Page 325
Copying Corrections and Grades in the Timeline......Page 326
Using the Copy To Buttons in the Primary Rooms......Page 332
Setting a Beauty Grade in the Timeline......Page 334
Disabling All Grades......Page 335
Managing Grades in the Shots Browser......Page 336
Choosing Grades in Icon View......Page 337
Selecting Shots in the Shots Browser in Icon View......Page 338
Grouping and Ungrouping Shots......Page 339
Working with Groups......Page 342
Managing a Shot’s Corrections Using Multiple Rooms......Page 343
Grading a Shot Using Multiple Rooms......Page 344
Keyframing Limitations......Page 347
Keyframing Corrections in the Primary In and Out Rooms......Page 349
Keyframing Pan & Scan Effects......Page 350
Working with Keyframes in the Timeline......Page 351
Keyframe Interpolation......Page 353
Navigating Within the Image Preview......Page 355
Exchanging Geometry Settings with Final Cut Pro......Page 356
Working with the Pan & Scan Tab......Page 357
Using the Onscreen Controls......Page 358
Animating Pan & Scan Settings with Keyframes and Trackers......Page 360
The Shapes Tab......Page 361
Controls in the Shapes Tab......Page 362
Drawing Shapes......Page 364
Animating Shapes with Keyframes and Trackers......Page 369
The Tracking Tab......Page 370
Using Motion Tracking to Animate Vignettes and Shapes......Page 371
Controls in the Tracking Tab......Page 372
Using the Tracking Tab......Page 374
Saving Images to the Still Store......Page 381
Removing Images from the Still Store......Page 383
Customizing the Still Store View......Page 384
Still Store View Settings......Page 385
Controls in the Still Store Bin......Page 386
About Rendering in Color......Page 389
Which Effects Does Color Render?......Page 390
Some Media Formats Require Rendering to a Different Format......Page 392
Rendering Mixed Format Sequences......Page 393
Rendering Projects That Use Multiclips......Page 394
Render Queue Controls......Page 395
How to Render Shots in Your Project......Page 396
Rendering Multiple Grades for Each Shot......Page 400
Examining the Color Render Log......Page 401
Choosing Printing Density When Rendering DPX Media......Page 402
Gather Rendered Media......Page 403
Calibrating Video Monitors with Color Bars......Page 405
Project Shortcuts......Page 409
Switching Rooms and Windows......Page 410
Playback and Navigation......Page 411
Grade Shortcuts......Page 412
Editing Shortcuts......Page 413
Still Store Shortcuts......Page 414
Render Queue Shortcuts......Page 415
Multi-Touch Control in the Shots Browser......Page 417
Multi-Touch Control in the Geometry Room......Page 418
Multi-Touch Control in the Image Preview of the Scopes Window......Page 419
JLCooper Control Surfaces......Page 421
Configuring the MCS-3000 and MCS-Spectrum Control Surfaces......Page 422
Controls for the MCS-3000......Page 424
Using the Navigational Controls......Page 425
Tangent Devices CP100 Control Surface......Page 426
Controls in the CP100......Page 427
Configuring the CP200 Series Control Surfaces......Page 429
Controls in the CP200-BK (Trackerball/Knob Panel)......Page 431
Controls in the CP200-TS (Transport/Selection Panel)......Page 432
Controls in the CP200-K (Knob/Button Panel)......Page 433
Customizing Control Surface Sensitivity......Page 434