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Table Of Contents
- Color User Manual
- Contents
- Color Documentation and Resources
- Color Correction Basics
- Color Correction Workflows
- Using the Color Interface
- Importing and Managing Projects and Media
- Creating and Opening Projects
- Saving Projects and Archives
- Moving Projects Between FinalCutPro and Color
- Reconforming Projects
- Importing EDLs
- Exporting EDLs
- Relinking QuickTime Media
- Importing Media Directly into The Timeline
- Compatible Media Formats
- Converting Cineon and DPX Image Sequences to QuickTime
- Importing Color Corrections
- Exporting JPEG Images
- Setup
- Monitoring
- Timeline Playback, Navigation, and Editing
- Video Scopes
- Primary In
- Secondaries
- Color FX
- Primary Out
- Managing Corrections and Grades
- The Difference Between Corrections and Grades
- Saving and Using Corrections and Grades
- Applying Saved Corrections and Grades to Shots
- Managing Grades in the Timeline
- Using the “Copy to” Buttons in the Primary Rooms
- Using the Copy Grade and Paste Grade Memory Banks
- Setting a Beauty Grade in the Timeline
- Disabling All Grades
- Managing Grades in the Shots Browser
- Using the Primary, Secondary, and Color FX Rooms Together to Manage Each Shot’s Corrections
- Keyframing
- Geometry
- Still Store
- Render Queue
- Calibrating Your Monitor
- Keyboard Shortcuts
- Setting Up a Control Surface
- Index
40 Chapter 2 Color Correction Workflows
Exactly how you conform your source media in Final Cut Pro depends on the type of
media that’s used.
A Tape-Based Workflow
For a traditional offline/online tape-based workflow, the process is simple. The tapes are
captured into Final Cut Pro, possibly at a lower quality offline resolution to ease the
initial editing process by using media that takes less hard drive space, and is easier to
work with using a wider range of computers.
After the offline edit is complete, the media used by the edited program must be
recaptured from the source tapes at maximum quality. The resulting online media is
what will be used for the Final Cut Pro to Color round trip.
The following steps break this process down more explicitly.
Step 1: Capture the source media at offline or online resolution
How you approach capturing your media prior to editing depends on its format.
Compressed formats, including DV, DVCPRO-50, DVCPRO HD, and HDV, can be captured
at their highest quality without requiring enormous storage resources. If this is the
case, then capturing and editing your media using its native resolution and codec lets
you eliminate the time-consuming step of recapturing (sometimes called conforming)
your media later on.
Output
Final
Master
XML
XML
New Color
Corrected
Media
Online
Media
Color
Correction
Render
Final
Effects and
Output
Color
Final
Cut Pro
Final
Cut Pro
Offline
Edit
Send to
Color
Send to
Final Cut Pro
Source Media
Media
Data
Offline
Duplicates
Online
Reconform