Apple Color 1.0 - Manual (Page 21)

Chapter 1 Color Correction Basics 21
Using the cut list, the post-production supervisor pulls only the film negative that was
actually used in the edit. Since this is usually a minority of the footage that was
originally shot, the colorist now has more time (depending on the show’s budget, of
course) to perform a more detailed color correction pass on the selected footage that
will be assembled into the final video program during this final telecine pass.
Although this process might seem redundant, performing color correction directly
from the film negative has several distinct advantages. Since film has greater latitude
from black to white than video has, a colorist working straight off the telecine
potentially has a wider range of color and exposure from which to draw than when
working only with video.
In addition, the color correction equipment available to the telecine colorist has
evolved to match (and is sometimes identical to) the tools available to online video
colorists, with the added advantage that the colorist can work directly on the
uncompressed images provided by the telecine.
After the conclusion of the second color correction pass, the color-corrected selects are
reassembled to match the original edit, and the project is mastered to tape.
Incidentally, even if you don’t intend to color correct your program in the telecine suite,
you might consider retransferring specific shots to make changes that are easier or
higher quality to make directly from the original camera negative. For example, after
identifying shots you want to retransfer in your Final Cut Pro sequence, you can use
Cinema Tools to create a selects list, for example, just for shots you want to optically
enlarge, speeding the transfer process.
Camera Negative
Inexpensive
One-Light
Telecine Pass Offline Media
Reconform
Final Master
Offline Edit
Best-Light
Telecine Pass