Apple Final Cut Pro 6 User Manual
Page 1979
496
Index
color calibration
broadcast monitors III-541–III-544
color conversions III-664
color correction I-220, IV-65, IV-451
basic steps III-558–III-560
broadcast safe correction III-526–III-530
chip charts III-548
comparing colors III-594
comparing two clips III-552
desaturation filters III-610–III-612
described III-545–III-547
during filming III-547
examples of III-574–III-578, III-583–III-596, III-599–
III-602, III-606–III-610, III-612
keying process and III-429
Match Hue controls III-597–III-602
post-production III-548–III-551
primary color correction III-559, III-561
projects shot on film III-548–III-550
projects shot on videotape III-550
screen layouts III-553
tape-to-tape III-550
telecines III-548–III-550
tools for III-551
uses for III-545–III-547
using a chip chart III-548
color correction filters III-243, III-561
See also specific filter names
in Final Cut Pro III-561–III-562
location of III-561
trackball and III-581
Color Correction window layout I-144
Color Corrector 3-way filter III-226, III-243, III-559,
III-561, III-579–III-610
color balance controls III-569
examples of using III-583–III-596, III-599–III-602
settings III-563–III-570, III-579–III-583, III-603–
III-605
visual controls III-562, III-579–III-583, III-603–
III-605
Color Corrector filter II-279, III-243, III-559, III-561,
III-563–III-578, III-592–III-610
Color Balance controls III-569
examples of using III-574–III-578, III-592–III-596
settings III-563–III-573, III-603–III-605
visual controls III-562, III-570–III-573, III-603–
III-605
color depth IV-452
color gradients III-432
colorists III-551, IV-452
Color Key filter III-246
Color Matte generator III-450
Color Offset filter III-242
color picker III-229, III-478
color ranges
Chroma Keyer filter III-432
limiting effects III-603
color recording methods IV-375, IV-388
colors
color sampling IV-376, IV-389
Color Smoothing - 4:1:1 filter III-246
Color Smoothing - 4:2:2 filter III-246
Color Smoothing filter III-427
color space II-90, III-507–III-511
CMYK IV-451
conversion III-664
described III-507
RGB I-179, IV-29, IV-468
settings III-662
updating projects and IV-27–IV-28, IV-28
Y´CbCr IV-29
color spill III-428, III-438
color subcarrier frequency IV-379
columns
in Browser I-59–I-60, I-62–I-66, IV-36–IV-42
customizing I-60, I-62–I-66
in Export Queue window IV-297–IV-298
hiding I-312
logging columns I-60
showing I-312
standard columns I-60
“gearing down” with II-193, II-344
selecting items with II-178
commands
display settings I-148
keyboard shortcuts I-148
shortcut buttons I-156
Comment Column Headings option II-75
Comment columns in Browser I-66
Comment property IV-34, IV-38, IV-47
comments
columns in Browser I-66
in logging I-261
comments in markers II-60, II-62, II-64, II-183
common sync sources I-200
Component analog video
Component RGB I-179
Component video I-179, IV-452
Component YUV I-179, IV-379, IV-388
Composite Arithmetic filter III-218
Composite Mode property IV-34, IV-47
composite modes
See also specific composite mode name
in Final Cut Pro III-396–III-406
opacity and III-394
viewing or changing a clip’s III-395