User manual APPLE COLOR 1.0

[. . . ] Your rights to the software are governed by the accompanying software license agreement. The owner or authorized user of a valid copy of Final Cut Studio software may reproduce this publication for the purpose of learning to use such software. No part of this publication may be reproduced or transmitted for commercial purposes, such as selling copies of this publication or for providing paid for support services. Use of the "keyboard" Apple logo (Shift-Option-K) for commercial purposes without the prior written consent of Apple may constitute trademark infringement and unfair competition in violation of federal and state laws. [. . . ] The Timeline updates to reflect the edit you've made, and the two shots that were previously separated by a through edit are spliced into one. Create an Edit The Create an Edit command in the Timeline menu (Control-V) is similar to the Split tool. It cuts a single shot in the Timeline into two at the current position of the playhead. To create an edit point: 1 Move the playhead to the frame where you want to add an edit point. 2 Do one of the following:  Choose Timeline > Create an Edit. The Timeline updates to reflect the edit you've made, with a new edit point appearing at the position of the playhead. Merge Edits The Merge Edits command (Control-B) is similar to the Splice tool. It joins two shots separated by a through edit at the current position of the playhead into a single shot. To merge two shots into one at a through edit point: 1 Move the playhead to the frame at the through edit you want to merge. The Timeline updates to reflect the edit you've made, and the two shots that were previously separated by a through edit are merged into one. 138 Chapter 7 Timeline Playback, Navigation, and Editing Important: When you splice two shots that have different grades and corrections, the grades and corrections of the shot to the left overwrite those of the shot to the right. Snapping When snapping is on, clips "snap to" the 00:00:00:00 time value in the Timeline. To toggle snapping: m Choose Timeline > Snapping to turn snapping on and off. Chapter 7 Timeline Playback, Navigation, and Editing 139 8 Video Scopes 8 In addition to a well-calibrated broadcast display, video scopes are a fast and accurate way to quantitatively evaluate and compare images. Color provides most of the video scope displays that you'd find in other online video and color correction suites, and includes a few that are unique to software-based image analysis. Together, these scopes provide graphic measurements of the luma, chroma, and RGB levels of the image currently being monitored, helping you to unambiguously evaluate the qualities that differentiate one shot from another. This lets you make more informed decisions while legalizing or comparing shots in Color. 145) What Scopes Are Available? The following video scopes are available in the Scopes window:  Waveform monitor with the following options:  RGB Parade view  Overlay of red, green, and blue channels together  Red, Green, or Blue channel in isolation  Luma only  Chroma only  Y´CBCR presented in parade view 141  Vectorscope  Histogram with the following options:  RGB presented simultaneously  Red, Green, or Blue channel in isolation  Luma only  3D color analysis with the following color space options:  RGB  HSL  Y´CBCR  IPT The location where the video scopes appear depends on whether Color is configured to single or double display mode:  In Single Display mode: Two video scopes are displayed underneath the video preview in the Scopes window, which is positioned to the left of the Color interface window. 142 Chapter 8 Video Scopes  In Double Display mode: Up to three video scopes are displayed in the Scopes window, in addition to the video preview. Video Scopes Accuracy To create a real-time analysis of the video signal (even during adjustment and playback), Color downsamples the current image to a resolution of 384 x 192. The downsampled image is then analyzed, and the resulting data displayed by the currently selected scopes. This same downsampled resolution is used regardless of the original resolution of the source media. Using this method, every pixel contributes to the final analysis of the image. In tests, the graphs produced by the Color video scopes closely match those produced by dedicated video scopes, and are extremely useful as an aid to evaluating and matching shots while you work in Color. However, you should be aware that the Color analysis is still an approximation of the total data. Note: If you're concerned about catching stray out-of-gamut pixels while you make adjustments for QC purposes, you can turn on the Broadcast Safe settings to protect yourself from QC violations. For more information, see "Broadcast Safe Settings" on page 100. Chapter 8 Video Scopes 143 Video Scope Options You have the following ways of modifying the display and behavior of the video scopes. To enable real-time video scope updates: 1 Open the User Preferences tab located inside the Setup room. 3 To set the video scopes to update during playback, select Update Secondary Display. Tip: You can turn off Update Primary Display to improve playback performance. Some scopes have the option to be switched among different modes. To change a scope to a different mode: m Click the button corresponding to desired mode at the top of that scope. [. . . ] Note: You must be logged in as an administrator to set up the Tangent Devices CP100. To set up and use the CP100 for use with Color: 1 Connect the CP100 to your computer using an Ethernet cable. Important: The CP100 cannot be connected to the second Ethernet port of your Mac pro; it must be connected to your computer's primary Ethernet port, if necessary through a router or switch if you need to share the port with an Internet connection. 3 Open Color. 344 Appendix C Setting Up a Control Surface If you're opening Color for the first time, you'll be presented with the Control Surface Startup dialog. [. . . ]