Color Release Notes
Updated versions of Release Notes may be published as versions of Color are released or new information becomes available. You can check for updated information by choosing Help > Release Notes when Color is open.
For the latest information about product updates, tips and techniques, and qualified third‑party devices, visit the Color website at https://www.apple.com/finalcutstudio/color.
For the latest support information from AppleCare, choose Color Support from the Color Help menu. To receive automatic notification about new support issues, use Safari to bookmark the AppleCare Color RSS page at feed://docs.info.apple.com/rss/color.rss. See Safari Help for more information about configuring RSS feeds.
To join with other Color users in discussing issues related to using Color, visit the Color discussion website at http://discussions.apple.com/forum.jspa?forumID=1138.
Color 1.0.4 Release Notes
This section contains release information about Color 1.0.4. Refer to the Color 1.0, 1.0.1, 1.0.2, and 1.0.3 sections in this document for information that is not superseded by items in this section.
Color 1.0.4 requires Mac OS X v10.5.5 or Mac OS X v10.4.11, and QuickTime 7.5.5.
The following improvements have been made to Color 1.0.4.
XDCAM Clip Relinking Is Fixed
XDCAM EX, HD, and 422 clips now relink properly.
ISO Changes in the RED Tab Appear Correctly
Instances where the Color UI did not accurately reflect changes made to the ISO parameter in the RED tab of the Primary In room have been fixed.
Improvements to the Blur Node in the Color FX Room
Adjusting the spread parameter of the Blur node no longer causes the clip to scale up.
Color 1.0.3 Release Notes
This section contains release information about Color 1.0.3. Refer to the Color 1.0, 1.0.1, and 1.0.2 sections in this document for information that is not superseded by items in this section.
Color 1.0.3 requires Mac OS X v10.5.5 or Mac OS X v10.4.11, and QuickTime 7.5.5.
The following improvements have been made to Color 1.0.3.
Improved Format Support
Color 1.0.3 provides support for XDCAM 422 media and for the RED plug‑ins for Final Cut Studio.
The RED plug‑in and accompanying documentation can be downloaded at http://www.red.com. For workflow suggestions and more information about this format, see HD and Broadcast Formats, available from the Final Cut Pro Help menu.
Improved Application Reliability
Overall application reliability has been improved, including in the following areas:
- Using trackers in the Geometry room
- Using the Reconform command
- Adjusting the Minimum and Maximum nodes in the Color FX room
Improved EDL Handling
Accuracy and reliability during EDL import have been improved.
Application of Display LUT Now Indicated Consistently
Color 1.0.3 consistently indicates when a display LUT has been applied to a project in the Project Settings tab of the Setup room.
Improved Handling of DPX Image Sequences
Color 1.0.3 provides improved reliability when reading and outputting the header information of DPX image sequences, including timecode, frame size, aspect ratio, and transfer code.
The Fix Headers Button Now Works Properly
The Fix Headers button, which appears in the clip bin of the Setup room when you select an image sequence, now correctly alters the header information of DPX image sequences.
Improved Handling of Interlaced Media
Interlaced clips with Pan & Scan adjustments in the Geometry room correctly render the exact range of clip media.
Tangent Control Surface Mappings Are Improved
The HSL qualifier and reset control surface mappings for the Tangent CP100 control surface have been fixed.
Color 1.0.2 Release Notes
This section contains release information about Color 1.0.2. Refer to the Color 1.0 and 1.0.1 sections in this document for information that is not superseded by items in this section.
The following improvements have been made to Color 1.0.2.
Mac OS X v10.5 Leopard Support
Color 1.0.2 is compatible with Mac OS X v10.4.11 and Mac OS X v10.5 Leopard.
Improved Format Support
Color 1.0.2 now properly supports 50p frame rates in both projects and media. Color 1.0.2 also supports 60p drop frame timecode in both projects and media.
AVCHD and AVC‑Intra video formats are transcoded by Final Cut Pro upon import as either ProRes 422, ProRes 422 (HQ), or Apple Intermediate QuickTime files, depending on the format you choose. For optimal results in Color, use ProRes 422 (HQ).
XDCAM EX media is imported by Final Cut Pro as XDCAM HD, which is supported by Color for import, but not supported as Original format or as an export codec.
For more information about all of these formats, see HD and Broadcast Formats, available from the Final Cut Pro Help menu.
Improved Round Trip Support for Upconverted Media Rendered by Color 1.0.2
In Color 1.0 and 1.0.1, sending a Color project back to Final Cut Pro with graded media that was rendered by Color with the ProRes 422 or Uncompressed 8‑bit or 10‑bit codecs could result in media that didn’t match the sequence settings. This happened specifically when sending a sequence using compressed media to Color and then changing the QuickTime Export Codec to one of the ProRes 422 or Uncompressed 8‑bit or 10‑bit codecs, instead of using Original Format (some formats such as HDV cannot be rendered using the Original Format option).
In Color 1.0.2, graded source media rendered using one of the ProRes 422 or Uncompressed 8‑bit or 10‑bit codecs can be handled one of two ways when you send the project back to Final Cut Pro. After you choose the Send to Final Cut Pro command, you’re presented with a dialog that asks the following question: “Change graded Final Cut Pro sequence to match the QuickTime export codec?”
This dialog gives you the option to change the settings of the sequence that is sent back to Final Cut Pro to match the new codec and, in some cases, the new frame size of the graded media files that Color renders. When deciding whether or not to use this option, consider the following:
- If you click Yes to change the sequence settings to match the graded media rendered by Color, the codec used by the sequence will be changed from the one that was originally used. Also, the frame size of the sequence might change depending on the format of the source media. For example, high definition anamorphic media formats such as DVCPRO HD that use an anamorphic frame size of 1280 x 1080 will be rendered by Color with the full frame size of 1920 x 1080.
- If you click No, the settings of the sequence that Color sends back to Final Cut Pro will be identical to the sequence that was originally sent from Final Cut Pro to Color, but the codec and frame size of the media may be different.
Please note that if you click Yes to change the settings of the sequence that Color sends to Final Cut Pro, the frame size of clips that are not rendered by Color (including unsupported media such as generators, Motion projects and templates, still images, and freeze frames) or of media that was simply never added to the Render Queue remains the same size as in the original Final Cut Pro sequence. The result is that these unrendered clips will have a different frame size than the graded clips in the sequence. You will have to manually adjust these clips to make them match.
If you click No, the frame size of all clips in the sequence that Color sends to Final Cut Pro will remain the same as the original frame size of the sequence. In the case of anamorphic high definition media, such as that with a frame size of 1280 x 1080, Color still renders the graded media with a final frame size of 1920 x 1080, but each clip will appear in the Final Cut Pro sequence that is sent with its Aspect Ratio parameter adjusted in the Motion tab so that it matches the sequence size.
Improved Handling of Aspect Ratio and Field Dominance
The following issues with Aspect Ratio and Field Dominance handling have been fixed:
- After a Final Cut Pro to Color round trip of a sequence combining standard definition and high definition HDV clips, the aspect ratio of each clip rendered by Color now matches that of the original media.
- Instances where interlaced sequences sent to Color and then back to Final Cut Pro would have their interlacing set to None have been fixed.
- Instances where sequences with non‑square pixels sent to Color and then back to Final Cut Pro would have their pixel aspect ratio set to Square have been fixed.
Improved Image Processing
The following improvements have been made to image processing:
- Improvements have been made to address color and luma shifts appearing in some formats.
- Visible noise introduced by adjusting the Luma curve has been reduced.
- Instances of artifacts in mattes created by the HSL qualifiers have been eliminated.
Improved Project Reconforming
The Color Reconform command has been improved:
- Instances where the Color Timeline did not match an updated Final Cut Pro sequence after a reconform operation have been fixed.
- Instances where Color would send a version of the project that existed prior to a reconform operation back to Final Cut Pro have been fixed.
- Color now properly reconforms altered Motion parameters from Final Cut Pro sequences.
Improved Rendering of Clips with Speed Effects
The following improvements have been made to the handling of clips using speed effects from Final Cut Pro:
- Keyframed secondary vignettes now work properly with clips using speed effects.
- Clips using the reverse speed effect now render with the proper frame range in Color and are sent back to Final Cut Pro with correct In and Out points.
Any Volume Can Be Used to Save Color Projects
Color will now function properly on systems with home directories saved on any volume or partition, and the Default Project Directory can be set to any volume or partition you choose.
Improved Media Handling During Final Cut Pro to Color Round Trips
The following improvements have been made to media handling during Final Cut Pro to Color round trips:
- Clips that start with 00:00:00:00 timecode are now sent back to Final Cut Pro with the correct timecode.
- Final Cut Pro programs containing nested sequences with cross dissolves on the first clip no longer cause problems in Color. This corrects the issue covered in the Color 1.0.1 Release Notes.
Improved Handling of Motion and LiveType Clips, and Offline Media
The following improvements have been made to the handling of Motion and LiveType clips:
- Motion templates, Motion projects, and LiveType projects all appear as offline shots in the Color Timeline, instead of as gaps as in previous versions of Color. These media types, although unsupported in Color, reappear when your sequence is sent back to Final Cut Pro.
- Offline shots in the Color Timeline no longer obscure shots in video tracks underneath them.
Fixes to Undo
The Undo command has been fixed in the following instances:
- You can now undo operations in the Render Queue.
- The Reset Secondary and Reset All Secondaries buttons can now be undone.
- In the Primary Out room, using the Undo command after clicking the Reset Primary Out button now properly restores the Ceiling Red, Ceiling Green, and Ceiling Blue parameters to their former state.
- Attaching and Detaching shapes can now be undone.
- You can undo the application of a saved effect in the Color FX room.
- Operations in the Shot List can now be undone.
- Creation and removal of shapes in the Geometry room can be undone.
Many of these fixes correct issues covered in the Color 1.0 Release Notes.
Notes Column in the Shots Browser Has Been Fixed
The Add/Edit Note command in the shortcut menu of the Notes column in the Shots Browser can now be used to save notes as described in the Color User Manual.
This corrects the issue covered in the Color 1.0.1 Release Notes.
Fixes in the Pan & Scan Tab of the Geometry Room
The following issues have been fixed in the Pan & Scan tab of the Geometry room:
- The Flip Image and Flop Image buttons no longer reverse the effect of keyframed Scale or Position parameters.
- The Flip Image and Flop Image buttons now turn off properly when Reset Geometry is clicked.
- The Use Tracker parameter can now be used to assign a tracker to the position of the Pan & Scan tab of the Geometry room as described in the Color User Manual.
Superimposed Text Tracks No Longer Affect Playback Performance
Instances where superimposed text tracks in a sequence sent from Final Cut Pro would reduce playback performance in Color have been eliminated.
Copied and Pasted Grades Are Autosaved Properly
Instances where grades that were copied and pasted were not autosaved along with the rest of a Color project have been fixed.
Improved Handling of Text Fields
Text selection in Color text and parameter fields has been improved:
- Click once within any field to place the text cursor at the position you clicked.
- Double-click within any field to select the word at the position of the pointer.
- Triple-click within any field to select the entire contents of that field.
You Are Prompted Before Overwriting Previously Saved Corrections or Grades
If a previously saved Grade or Correction in any bin is selected when you click Save, you are now asked whether or not you want to replace it.
Fixes in the Color FX Room
The following fixes have been made in the Color FX room:
- Assembling a node tree in the Color FX room while the Internal Pixel Format pop‑up menu is set to Floating Point and then lowering the setting of the Internal Pixel Format pop‑up menu to 8‑bit no longer reduces highlight levels in 8‑bit mode when using NVIDIA graphics cards. This corrects the issue covered in the Color 1.0.1 Release Notes.
- The Maximum node no longer exhibits artifacts when the Brush Size is set to an even number.
- The curve control of the Curve node now appears at the proper size in the Parameters tab.
Secondaries Room Adjustments Appear Correctly in the Video Scopes
Adjustments and corrections you make in the Secondaries room now appear correctly in the Color application’s built‑in video scopes.
Fixed and Updated Keyboard Shortcuts
The following keyboard shortcuts have been fixed or updated:
- The keyboard shortcuts for Copy Grade > Mem Bank 1‑5 (Control‑Option‑Shift‑1 through 5) have been fixed.
- The keyboard shortcut for Set Beauty Grade has been changed to Control‑Shift‑B.
- The Rooms > Shot List command (Command‑9) has been fixed.
- The Rooms > Project Setup command (Command‑0) has been fixed.
Hiding Color No Longer Causes Rendering to Pause
The Color Render Queue continues to render even if you choose Color > Hide Color, or switch to using a different application.
Fixes to JLCooper Control Surface Support for the Geometry Room
When using a JLCooper control surface, the leftmost joyball now correctly adjusts Position X and Position Y, while the first two knobs above the joyball controls adjust Scale and Rotate, and the second two knobs adjust Flip and Flop. Button B1 resets Position X and Position Y.
Modifications to Supported Keys for the Tangent Devices CP100 Control Surface
The features of Color that are controllable by the “F” keys of the CP100 control surface have been modified. The features that are adjustable using the CP100 vary depending on which room is currently open.
In the Primary In and Primary Out rooms:
- F4: Alternate Panel Encoders
- F5: Set Scope Resolution to 100%
- F6: Set Scope Resolution to 25%
- F7: Parade Waveform
- F8: Histogram Waveform
In the Secondaries room:
- F4: Alternate Panel Encoders
- F5: Toggle Secondary
- F6: Toggle Secondary In/Out Control
- F7: Toggle Vignette
- F8: Previous Secondary
- F9: Next Secondary
In the Geometry room:
- F4: Alternate Panel Encoders
This section contains issues that affect Color 1.0.2.
Motion Tracking Doesn’t Work Properly With Speed-Adjusted Clips
The Motion Tracker in Color doesn’t work as expected with speed-adjusted clips from Final Cut Pro.
Known Issues Affect Sequences Containing Multiclips That Are Sent to Color
Sequences that contain multiclips have known issues that affect Final Cut Pro to Color round trips.
User Manual Correction: CP100 Control Surfaces Should Be Attached Using Their TDLan Port
The Tangent Devices CP100 has two ports, one labeled “Ethernet” and another labeled “TDLan.” The TDLan port should be connected to the primary Ethernet port on your Mac Pro, if necessary through a router or switch if you need to share this port with an Internet connection or network. The CP100 cannot be connected to the second Ethernet port of your Mac Pro.
Color 1.0.1 Release Notes
This section contains release information about Color 1.0.1. Refer to the Color 1.0 section in this document for information that is not superseded by items in this section.
The following improvements have been made to Color 1.0.1.
Drop Frame Timecode Is Now Supported in Both Sequences and Media
Drop frame timecode is now fully supported in sequences, QuickTime media, and EDLs. This corrects the issue covered in the Color 1.0 Release Notes.
Color Corrector 3‑Way Filters Are Converted to Primary In Room Corrections
In Color 1.0.1, individual Color Corrector 3‑way filters applied to clips in a Final Cut Pro sequence are automatically converted into adjustments to the color balance controls, primary contrast controls, and saturation controls in the Primary In room of each shot. Once converted, these filters are removed from the XML data for that sequence, so that they do not appear in the sequence when it’s sent back to Final Cut Pro.
Because Final Cut Pro is a Y'CbCr processing application, and Color is an RGB processing application, these conversions are only approximations and will not precisely match the original corrections made in Final Cut Pro.
Imported Color Corrector 3‑way filters are subject to the following limitations:
- Only Color Corrector 3‑way filters are converted. All other video filters are ignored by Color and reappear in your sequence when it’s sent back to Final Cut Pro.
- Only one Color Corrector filter per clip is converted. For clips with multiple Color Corrector 3‑way filters, only the last one appearing in that clip’s Filters tab is converted. All previous filters appearing in the list are ignored and removed from the XML data for that sequence.
- Limit effect controls, if used, are ignored. If a clip has a Color Corrector 3‑way filter that uses the limit effect controls to create a secondary correction, the limit effect controls are ignored and the color balance, contrast, and saturation settings from that filter are applied to the entire image in the Primary In room of Color.
If you don’t want converted approximations of Color Corrector 3‑way filters to appear when you send the sequence to Color, you need to do one of the following:
- Disable individual Color Corrector 3‑way filters you don’t want imported into Color. Disabled filters are ignored when the sequence is sent to Color.
- If you don’t want any Color Corrector 3‑way filters to be imported, you can simply remove them from your sequence before you send it to Color.
Imported EDLs Also Import Transitions for Projects Using Cineon and DPX Image Sequences
Imported EDLs also import video transitions into Color. Transitions only appear for EDLs that use Cineon or DPX image sequences. This functionality is meant to support the rendering of dissolves during the Gather Rendered Media stage of 2K film out workflows.
Important: Color 1.0.1 only supports linear dissolves. All other types of video transitions in imported EDLs (such as wipes, iris transitions, and slides) will be converted into linear dissolves of the same duration. If there are any transitions you don’t want to be changed into dissolves, you should remove them from your project prior to exporting the EDL for Color import.
The Gather Rendered Media Command Renders Dissolves for Projects Using Cineon and DPX Image Sequences
When using the Gather Rendered Media command to consolidate the rendered frames for a 2K Color project in preparation for film output, all transitions are rendered as linear dissolves. This happens automatically when you choose the Gather Rendered Media command (located in the File menu). This feature is only available for EDL imported projects that use Cineon and DPX image sequence media, and is intended only to support 2K film out workflows.
Floating Point Rendering Is Now Available for Supported NVIDIA Cards
Floating point rendering is now available for NVIDIA cards with 256 MB or more VRAM. This supersedes the information about supported bit depths in the Color User Manual.
Limit Shadow Adjustments Is Turned On by Default
The Limit Shadow Adjustments checkbox (located in the Prjct Preferences tab of the Setup room) is now enabled by default for new installations of Color, or when you delete the Color preferences file. When Limit Shadow Adjustments is on, the Shadow color control and contrast slider exert more targeted control over the darker portions of the image. This is typically the preferred way to work. For more information about the Limit Shadow Adjustments control, refer to the Color User Manual.
Important: The Limit Shadow Adjustments setting is an application wide preference and globally changes how all Primary In and Out room Shadow adjustments are made in all projects. If you’ve already graded a project with Limit Shadow Adjustments turned off, be sure to turn it back off when you work on that project again after you’ve reinstalled Color or deleted the preferences. If you’ve had Limit Shadow Adjustments turned on while working on previous projects, then leave it on.
Images Monitored with Force RGB Enabled Match Those with Force RGB Disabled
Images being monitored on your video output display with Force RGB turned on now exactly match those being monitored when Force RGB is turned off.
Turning Force RGB on forces Color to rely on the hardware of your broadcast interface card (such as a Kona or Decklink card) to perform the RGB to Y'CbCr conversion needed to display video on a broadcast monitor. This improves playback performance.
Because of limitations in hardware-based RGB to Y'CbCr conversion, if you turn off the default Broadcast Safe settings, you’ll notice that the Force RGB setting limits any super‑white and out-of-gamut chroma values in the image so that they’re not displayed by your broadcast monitor. This is because these values are being clipped by the hardware conversion process, similarly to when you turn on Broadcast Safe at its default settings. Because of this, if Broadcast Safe is enabled at its default settings (or with more conservative settings), you shouldn’t notice any difference at all.
It’s important to understand that this video signal limiting only affects monitoring via your broadcast interface card; internal image processing and rendering with the Render Queue are completely unaffected by Force RGB. If you need to limit out-of-gamut image data in your rendered media for broadcast legality, you should be sure that Broadcast Safe is enabled.
This corrects the issue covered in the Color 1.0 Release Notes.
Ceiling and Floor IRE Parameters Correctly Limit the Video Signal
The Ceiling IRE and Floor IRE parameters in the Broadcast Safe settings now limit the video signal exactly as expected. This corrects the issue covered in the Color 1.0 Release Notes.
Instances of High Contrast Feature Borders Exceeding Broadcast Safe Settings Have Been Eliminated
All parts of the video signal are now correctly limited by the Broadcast Safe settings. This corrects the issue covered in the Color 1.0 Release Notes.
The Color User Interface Scales to Better Fit Displays with 1680 x 1050 Resolution
When Color is used on computers with 1680 x 1050 resolution, the interface is scaled to fit the dimensions of the display so that the individual controls better fit within the available screen real estate. This addresses issues covered in the Color 1.0 Release Notes.
Note: Because the controls in Color will appear unusually small on displays with smaller resolutions, they are not supported.
The Reset Command Now Appears in the Shortcut Menu of the Scopes Window
The Color User Manual describes a Reset command, found at the bottom of the shortcut menu for video scopes in the Scopes window, that did not appear in Color 1.0. This command now correctly appears, and when used resets any zoomed in video scope to its default size of 100%.
Pan and Scan Settings Are Correctly Translated into Motion Settings
Pan and Scan settings in Color projects did not properly translate into Motion tab settings in Final Cut Pro during the Send to Final Cut Pro process in Color 1.0. Color 1.0.1 corrects this.
Instances of 960 x 720 Resolution HD Media Rendering Incorrectly Have Been Corrected
In some cases, rendering high definition projects containing 960 x 720 media resulted in visible artifacts appearing in the resulting rendered output from Color. This has been corrected, and Final Cut Pro sequences set to use source media with a resolution of 960 x 720 are now fully supported in Final Cut Pro to Color round trips.
Instances of Color Unexpectedly Quitting When User Shapes Are Double-Clicked Have Been Corrected
In some cases, double-clicking a user shape after copying a grade to a clip would cause Color to quit unexpectedly. This has been corrected.
Two of the Color FX Room Preset “Looks” Have Been Improved
The Highlight_Glow and Cold_Hi preset looks in the Color FX bin of the Color FX room have been improved. However, the improved looks are not installed by default when you update Color. To force these looks to update, follow the procedure outlined below.
First, use Software Update to update your Final Cut Studio 2 applications. This will update Color to 1.0.1. After Color has been successfully updated, open Color, then open the Color FX bin in the Color FX room. Select the Highlight_Glow preset icon, press the Delete key, and when the “Do you want to delete this file forever” dialog appears, click Yes. Follow the same procedure to delete the Cold_Hi preset. Next, quit Color, open the /Users/username/Library/Preferences/Color/ folder, then drag the Preferences.prf file to the Trash.
The next time you open Color, new versions of the Highlight_Glow and Cold_Hi Color FX presets will be automatically installed.
This section contains issues that affect Color 1.0.1.
Grades from Projects Created in Final Touch 2.7 and Earlier May Not Look the Same in Color
Due to various changes in the application, grades created in Final Touch version 2.7 and earlier may not look the same in Color 1.0 or 1.0.1. If you graded a project in a version of Final Touch, you should complete the project in the same version of Final Touch.
Nested Sequences in Final Cut Pro Projects Cause Extra Video Tracks to Appear in Color
Final Cut Pro sequences with nested sequences within them may exhibit numerous duplicate tracks when sent to Color. While inconvenient, these duplicate tracks don’t affect your grades in any way, and they disappear when the project is sent back to Final Cut Pro, resulting in a sequence with an identical number of tracks to that which was originally sent.
To avoid this issue, replace all nested sequences in an edited sequence with the actual clips before sending it to Color.
Color FX Adjustments Created in Floating Point Using an NVIDIA Card May Exhibit Reduced Highlights When Lowered to 8‑Bit
If you assemble a node tree in the Color FX room that creates bright highlights while the Internal Pixel Format pop‑up menu is set to Floating Point, then lowering the setting of the Internal Pixel Format pop‑up menu to 8‑bit may result in reduced highlight levels while in 8‑bit mode. These effects will return to your intended levels when you switch back to Floating Point, so if you create Color FX adjustments in Floating Point, you should render your program in Floating Point.
On the other hand, creating the same effect while Internal Pixel Format is set to 8‑bit and then raising it to Floating Point results in no visible change to the image.
The Internal Pixel Format pop‑up menu is found in the User Prefs tab of the Setup room and controls the bit depth that Color uses to render the effects you apply.
This issue has been corrected in Color 1.0.2.
The Notes Feature in the Shots Browser Doesn’t Function Properly
The shortcut menu command for creating and opening notes in the Notes column of the Shots Browser of the Setup room does not function properly.
This issue has been corrected in Color 1.0.2.
Anamorphic DV/DVCPRO and DVCPRO HD Clips on a Mixed Format Timeline Aren’t Scaled to Match in Color
Standard definition, anamorphic DV/DVCPRO and DVCPRO HD clips in the same sequence on a mixed format Timeline exhibit different behaviors in Final Cut Pro 6 and Color. Final Cut Pro 6 automatically scales clips that don’t conform to the frame size specified by the sequence settings to match the resolution and aspect ratio of the sequence.
When the same sequence is sent to Color, these nonconforming clips appear at their original size. The result will be that nonconforming clips either appear too big or too small relative to the rest of the clips in that sequence within Color.
Important: This issue only affects monitoring while using Color. When sent back to Final Cut Pro, all clips in a mixed format Timeline will be scaled correctly in Final Cut Pro, just as they were originally. For this reason, do not attempt to adjust the Scale or Aspect Ratio parameters of these clips in the Geometry room of Color.
Color 1.0 Release Notes
This section contains release information about Color 1.0.
Optimizing Playback Performance of High Definition Projects
To achieve the best playback performance for projects using high definition resolutions, select Force RGB in the User Prefs tab of the Setup room. When Force RGB is turned on, Color sends RGB image data straight to the broadcast video interface that is installed on your computer, relying on the interface to do the necessary RGB to Y'CbCr conversion using its own dedicated hardware. This lightens the processing load on your computer, improving playback performance.
For more information on the Force RGB setting, choose Color User Manual from the Help menu.
Important: While Force RGB is turned on, super‑white and out-of-gamut chroma values will not be displayed by your broadcast display, nor will they appear on external video scopes analyzing your broadcast video interface’s output. This limitation only affects monitoring; the internal image processing performed by Color retains this data. However, if Broadcast Safe is turned on in the Project Settings, you may not notice any difference in the display of these “illegal” levels, since they’re being limited by Color.
This issue has been corrected in Color 1.0.1.
Color Is Not Compatible with Drop Frame Sequences and EDLs
If you intend to grade a sequence in Color, the timecode used by that sequence must be non‑drop frame to guarantee that every clip will be in sync after the Final Cut Pro–to–Color round trip. To make sure your sequence is using non‑drop frame timecode, deselect the Drop Frame checkbox in the Timeline Options tab of the Sequence Settings window in Final Cut Pro.
EDLs exported for use in Color must also be exported with non‑drop frame timecode.
Note: Color is compatible with QuickTime media that uses drop frame timecode. However, the timecode of all QuickTime media that is rendered out by Color will be converted to non‑drop frame, to match the project data that is either sent to Final Cut Pro or saved in the XML format.
This issue has been corrected in Color 1.0.1.
Dual Displays Must Be Connected to the Same Graphics Card
When using Color in dual display mode, both of your computer displays must be connected to the same graphics card.
You Should Have Only One Version of Color Installed on Your Computer
You should remove versions of Final Touch from your computer when you install Color as part of Final Cut Studio. Otherwise, Send to Color operations might not work as expected.
Color Does Not Support Resolutions Higher Than 2K
Image resolutions higher than 2K are not supported. Attempting to import image sequences with resolutions that are higher than 2K may result in visible artifacts.
Issues Affecting Final Cut Pro–to–Color Round Trips
The following issues affect your results when using the Send to Color or Send to Final Cut Pro commands to move project data back and forth between Color and Final Cut Pro:
- Variable speed effects from Final Cut Pro do not play properly in Color. Constant speed clips work fine.
- If you’ve already rendered the shots in your Color project and sent the project to Final Cut Pro once, rerendering the shots in your Color project and using the Send to Final Cut Pro command a second time results in incorrect media references in the resulting Final Cut Pro sequence. To avoid this, manually remove the render files that correspond to the shots you’re planning on rerendering from your project’s Render Directory (specified in the Prjct Settings tab of the Setup room) before you render them again.
- Color does not support anamorphic display of standard definition media. Anamorphic media is displayed with a 4:3 aspect ratio regardless of the anamorphic settings in the originating Final Cut Pro sequence.
- The Reconform command in Color works only with XML files that have been exported from the same sequence that was originally sent using the Send to Color command in Final Cut Pro. If you’re going to make a “safety copy” of your edited sequence in Final Cut Pro prior to making editorial changes, archive the duplicate sequence, but continue editing with the original sequence that you sent to Color.
- If you’ve imported a project into Color using an EDL, the Send to Final Cut Pro command may result in the creation of an empty sequence. Instead, choose File > Export > XML to export your Color project as an XML file to import into Final Cut Pro.
- Sequences that include a nested sequence which contains a cross dissolve applied to the first clip may cause errors when you use the Send to Color command.
Issues Affecting Video Signal Levels
The following issues affect the levels of video signals displayed by the Color software scopes and output via your installed video interface card:
- When analyzing bright highlights, the Color video scopes don’t precisely match the Final Cut Pro video scopes.
- The borders of extremely high-contrast features (such as the boundaries of specular highlights and computer-generated graphics) may exhibit spikes over 100 and under 0 when outputting to external video scopes, despite the Broadcast Safe settings you’re using. For programs requiring strict adherence to broadcast standards, you should insert a hardware legalizer between the output of your broadcast video interface and the input of your recording VTR when outputting to tape from Final Cut Pro. This issue has been corrected in Color 1.0.1.
- The default values of the Ceiling IRE and Floor IRE parameters of the Broadcast Safe settings do not limit the video signal as expected. To limit luma at 100 IRE, the Ceiling IRE parameter should be set to 99.3337357. To limit luma at 0 IRE, the Floor IRE parameter should be set to 1.187550. This issue has been corrected in Color 1.0.1.
User Interface Issues
The following issues affect various cosmetic and functional aspects of the user interface:
- When you set two or more regions of the Scopes window to the same type of video scope, changes made to one scope’s settings are mirrored in all other versions of the same scope. For example, in dual display mode, if you set two quadrants of the Scopes window to display the Waveform monitor, changing one of the Waveform monitors to Parade changes both to Parade.
- In single display mode, some buttons and interface items may not fit properly at some resolutions. This issue has been corrected in Color 1.0.1.
- When you use the Generate Proxies command by choosing File > Proxies > Generate Proxies, you cannot cancel the operation.
- When Color opens for the first time, the file browser in the Setup room is not set to the default Media directory. Click the Home button to show the default Media directory.
- In the Project Settings tab of the Setup room, you cannot use a mouse to raise the Chroma Limit parameter’s value past 36 or the Composite Limit parameter’s value past 100. You can still change these parameters to whatever value you need using the keyboard.
- After you’ve enabled a Vignette control in one of the Secondaries tabs, you may notice some subtle change in the graph of whatever video scopes are being displayed in the Scopes window whenever you click the tab of another room in Color. This is due to random noise being added to dither the vignetting effect, which updates whenever you change rooms.
- In the Shapes tab of the Geometry room, clicking the Load button more than once results in multiple copies of the selected shape appearing in the Shapes list.
The following issues affect keyframing in the Timeline:
- When you use the Delete All Keyframes command in the Timeline shortcut menu while you’re in the Setup room, a nonfunctional dialog opens; clicking either of the buttons within this dialog closes it with no resulting change made to your project.
- When you pause playback of a keyframed correction in the Primary In, Secondaries, or Primary Out room, the effect may sometimes appear to be offset by 1 to 4 frames. This only occurs during playback; all keyframed effects render with frame accuracy.
You cannot use the Undo command to undo the following functions:
- Attaching and detaching shapes cannot be undone. This issue has been corrected in Color 1.0.2.
- You cannot undo operations in the Render Queue. This issue has been corrected in Color 1.0.2.
- The Reset Secondary and Reset All Secondaries buttons cannot be undone. This issue has been corrected in Color 1.0.2.
- In the Primary Out room, using the Undo command after clicking the Reset Primary Out button does not restore the Ceiling Red, Ceiling Green, and Ceiling Blue parameters to their former state. This issue has been corrected in Color 1.0.2.