Apple Final Cut Pro 6 - Manual (Page 1335)

550 Part III Color Correction and Video Quality Control
Tape-to-Tape Color Correction
With projects shot on videotape, the color correction process tends to be a little
simpler. There is not usually much attention paid to fine-tuning the video being
digitized for an offline edit. Once you begin your online edit on a nonlinear editor
(NLE), each tape is calibrated to match the color bars at the head of the tape whenever
you’re recapturing your footage at its highest quality for final output, to ensure that the
colors are correct. If you’re doing your online edit in a tape suite, the online editor takes
care of this step.
Once the edit has been locked and the final master tape created, the tape can be taken
to an online suite capable of tape-to-tape color correction. The master tape is run
through a color corrector, and the colorist uses the tape’s master timecode to set up
color correction settings for every shot of every scene. Once this setup is complete, the
entire tape is run through the color corrector and rerecorded to another tape.
Other Advantages of Telecine Transfers
In addition to color correction, a colorist working with a telecine has many other options
available, depending on what kinds of issues may have come up during the edit.
 Using a telecine to pull the image straight off the film negative, the colorist can
reposition the image to include parts of the film image that fall outside the action
safe area of video.
 With the telecine, the image can also be enlarged optically up to 50 percent
without distortion.
 The ability to reframe shots in the telecine allows the director or producer to make
significant changes to a scene, turning a medium shot into a close-up for dramatic
effect, or moving the entire frame up to crop out a microphone that’s dipped
inadvertently into the shot.
Perform
online edit
Perform color correction
pass in online suite
Output new
master tape