Better Secondaries
Secondary correction allows you to target your corrections to specific areas within the frame. In Color 1.5 you'll experience far less mouse clicks to enable secondaries and apply trackers. In the Color FX room, you have more control over individual color channels and can work with more complex node trees using copy/paste operations.
Better Tracking Tools
Learn how to combine automatic tracks with manual tracks. This new feature alone will save you countless hours as you can now manually track from the point at which the automatic tracker lost its way.
New RED Workflows in Color 1.5
While RED support was introduced in the previous version of Color, Color 1.5 improves things with full support of 4K RED media, either as native RED QuickTime files or as the originally archived REDCODE media. Alexis will show you the two primary workflows you can follow to correct and grade programs that use RED source media.
Powerful Specialty Workflows
Color 1.5 provides powerful new features to aid with more specialized workflows involving EDL imports, DPX media conversions and digital daily offline to online workflows.
Watch on Apple TV
We've formatted all the iTunes tutorials for playback Apple TV. If you have an Apple TV connected to a wired or wireless network, iTunes will sync the tutorials with your Apple TV. Then just sit back, remote in hand, and watch the tutorials on your Hi Def monitor connected over DVI. The picutre quality is stunning.
Who is this Tutorial For?
Anyone who is a Color user and wants a deeper understanding of how the new features in Color 1.5 will impact their workflow.
About the Instructor
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Alexis Van Hurkman is a writer, director, and colorist based in New York. Alexis works on a wide variety of narrative and documentary programming that has aired on Mojo HD, The History Channel, BBC Four, and WNET, including the cable series “Survival School,” and the documentary feature “Prodigal Sons" which screened at the 35th Telluride film festival. Alexis' own feature "Four Weeks, Four Hours" has screened internationally at festivals including Breckenridge, Salento, Longbaugh, and Toronto ReelHeART. He has written extensively about postproduction with books including the "Encyclopedia of Color Correction," and the user manuals for Apple Computer’s Color, Shake, and Final Cut Pro 4. |
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Table of Contents
General Improvements
- Getting into Color 1.5
- New Keyboard Shortcuts
- New Text and Parameter Field Behaviors
Improved Grading Indicators
- Better Grade Sanity Checking
- Clear All Beauty Grades
- Better Render Management of Beauty Grades
- Add All Beauty Grades
- Better Revision Pass Management
- Clear Seleted Beauty Grades
Enhanced Video Scopes
- New Scopes Graticule
- New Scopes Zooming
- New IRE and Millivolt selectors
- New Zooming Controls
- Auto-Toggle Enable Button
- Current Secondary Pop-Up Menu
- Tracker Pop-Up Menu
- New Curve Node Parameters
- Shape Type Menu for Applying Vignettes
- Copy/Paste nodes in Node View
Better Tracking Tools
- Automatic vs. Manual Trackers
- Auto tracking
- Picking up where an Auto Tracker Got Lost
- Adjusting the Tracker Control Points
- Smoothing a Tracked Motion Path
- Appying the Tracker in Various Rooms
- Add Unrendered Clips
- Add All Beauty Grades to Render Queue
- Additional Render Indicators
- Render Overwrite Warnings
- Improved Round Trip Effects Support
- Improved Freeze Frame Support
- Improved Mutliclip Support
- Reconforming a Multiclip Sequence
Improved Support of Speed Effects
- Types of Speed Effects Color 1.5 can deal with
- Best-Case Workflows with Speed-Effected Clips sent to Color 1.5
- Limitations of Speed Effects in Color 1.5
- Motion's Optical Flow Retiming and Color 1.5
Preserved FCP Motion Tab Settings
- Improved Round Tripping
- How Motion Tab Keyframes are Tracked
- Working with Motion Tab-Effected Clips in the Geometry Room
New Format Support
- A Tour of the New Video Formats Supported by Color 1.5
- ProRes 4444
- Proxy and LT ProRes Offline Formats
- ProRes 4444 as a Mastering Format
New RED Workflows
- Support of 4K Media
- Injesting RED Media in the Log and Transfer Window
- Transcoding Options
- Choosing a Native Option
- Offline/Online Workflows using RED Media
- Reconforming Your Sequences to Native RED Files
- The Media Manager in RED Reconforming
- Offline to Online Workflow Using Cinema Tools
- Choosing Your Output Format - DPX Media for Film Printing or QuickTime
New Specialty Workflows
- EDL Error Checking on Import
- Resolving Conflicts
- New Match Column in the Setup Room
- Checking Match "Confindence"
- Digital Dailies for Workflows Using DPX Media
- Using Color to Create Offline Quality QuickTime Media for Editing
- Importing Entire Folders of Media
- New ProRes Export Options
- Creating "One-Light" Correction Pass on Offline Media
- Enhanced DPX Header Utilities
- Altering the Printing Density
System Requirements
- MAC G5 or better
- MacOS X
- 1 Gigabytes or more of RAM
- QuickTime 7.0 or above
- Monitor Depth - Millions
- 1600 x 1000 screen size or better
- MAC G5 or better
- MacOS X
- 1 Gigabytes or more of RAM
- QuickTime 7.0 or above
- Monitor Depth - Millions
- 1600 x 1000 screen size or better