Apple Color 1.0 User Manual
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Chapter 2
Color Correction Workflows
To accommodate editorial changes, reconforming tools are provided to synchronize
an EDL or Final Cut Pro sequence with the version of that project being graded in
Color. For more information, see “
 Filters: Final Cut Pro FXScript or FxPlug filters are neither previewed nor rendered by
Color. However, their presence in your project is maintained, and they show up again
once the project is sent back to Final Cut Pro.
Note: It’s not generally a good idea to allow color-correction filters to remain in your
Final Cut Pro project when you send it to Color. Even though they have no effect as
you work in Color, their sudden reappearance when the project is sent back to
Final Cut Pro may produce unexpected results.
 Transitions: Color preserves transition data that might be present in an imported EDL
or XML file, but does not play the transitions during previews. How they’re rendered
depends on how the project is being handled:
 For projects being round-tripped from Final Cut Pro, transitions are not rendered in
Color during output. Instead, after the project’s return, Final Cut Pro is relied upon
to render those effects.
 For 2K digital intermediates, all video transitions are ignored.
 Superimpositions: Superimposed shots are displayed in the Timeline, but
compositing operations involving opacity are neither displayed nor rendered.
 Speed effects: Color doesn’t provide an interface for adding speed effects, instead
relying on the editing application that originated the project to do so. Linear and
variable speed effects that are already present in your project, such as those added in
Final Cut Pro, are previewed during playback, but they are not rendered in Color
during output. Instead, Final Cut Pro is relied upon to render those effects in round-
trip workflows.
 Final Cut Pro generators, and Motion or LiveType project shots: Final Cut Pro generators,
Motion projects, and LiveType projects are completely ignored by Color. How you
handle these types of effects also depends on your workflow:
 If you’re round-tripping a project between Final Cut Pro and Color, and you want
to grade these effects in Color, you should render these effects as self-contained
QuickTime .mov files. Then, edit the new .mov files into your sequence to replace
the original effects shots prior to sending your project to Color.
 If you’re round-tripping a project between Final Cut Pro and Color, and there’s no
need to grade these effects, you don’t need to do anything. Even though these
effects aren’t displayed in Color, their position in the Timeline is preserved, and
these effects will reappear in Final Cut Pro when you send the project back. Titles
are a good example of effects that don’t usually need to be graded.
 If you’re working on a 2K digital intermediate, you’ll need to use a compositing
application like Shake or Motion to composite any effects using the image
sequence data.