1.0
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
44 Chapter 2 Color Correction Workflows
Here’s a more detailed explanation of the offline-to-online portion of this workflow.
Step 1: Shoot and back up all source media
Shoot the project using whichever tapeless format you’ve chosen. As you shoot, make
sure that you’re keeping backups of all your media, in case anything happens to your
primary media storage device.
Step 2: Create offline resolution duplicates, and archive original resolution media
If necessary, create offline resolution duplicates of the source media in whatever format
is most suitable for your system. Then, archive the original source media as safely as
possible.
Important: When you create offline duplicates of tapeless media, it’s vital that you
duplicate and maintain the original filenames and timecode that the source files were
created with. This is critical to guaranteeing that you’ll be able to easily relink to the
original high-resolution source files once the offline edit is complete.
Step 3: Edit the program in Final Cut Pro
Edit your program in Final Cut Pro, as you would any other project. If you’re planning
on an extensive use of effects in your program during editorial, familiarize yourself with
the topics covered in “Limitations in Color” on page 37.
Step 4: Relink your edited sequence to the original source media
Once your offline edit is complete, you’ll need to restore the original online quality
source media, and relink your project to the high-resolution files.
Step 5: Pre-render effects, send the sequence to Color, and grade
At this point, the workflow is identical step 7 in “A Tape-Based Workflow” on page 40.