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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
48 Chapter 2 Color Correction Workflows
Step 2: Capture media at online resolution
You’ll need to recapture the sequence created when importing the EDL using the
highest quality QuickTime format that you can accommodate on your computer (such
as Apple ProRes 422 or Apple Uncompressed).
Step 3: Pre-render effects, send the sequence to Color, and grade
At this point, the workflow is identical to step 7 in “A Tape-Based Workflow” on page 40.
Importing and Notching Preedited Program Masters
Another common way of obtaining a program for color correction is to be provided
with an edited master, either on tape or as a QuickTime movie or image sequence, and
an accompanying EDL. You can use the EDL to automatically add edits to the master
media file in Color (called “notching” the media), to make it easier to grade each shot in
the program individually.
Step 1: Import the project into Final Cut Pro
Import the EDL of the edited project into Final Cut Pro.
Step 2: Capture the program master (if necessary)
If you were given the program master on tape, you’ll need to capture the entire
program using the highest quality QuickTime format that you can accommodate on
your computer (such as Apple ProRes 422 or Apple Uncompressed). If you’re being
given the program master as a QuickTime file, you should request the same from
whomever is providing you with the media.
For this process to work correctly, it’s good if the timecode of the first frame of media
matches the first frame of timecode in the EDL.
Step 3: Import the EDL into Color, and relink to the master media file
Either select the EDL from the Projects dialog that appears when you first open Color,
or use the File > Import > EDL command. When the EDL Import Settings dialog
appears, choose the EDL format, project, EDL, and source media frame rates.
Capture
Entire
Program
Final Cut Pro
Online
Media
Tape
Master
Color
Output
Final
Master
XML
New Color
Corrected
Media
Final
Effects and
Output
Final
Cut Pro
Send to
Final Cut Pro
Render
Media
Data
Create Color
Project from
EDL
to “Notch”
Online Media
Color
Correction