Apple Color 1.0 - Manual (Page 39)

Chapter 2 Color Correction Workflows 39
Important: When you send frames of media to a compositing application, it’s vital
that you maintain the frame number in the filenames of new image sequence media
that you generate. Each image file’s frame number identifies its position in that
program’s Timeline, so any effects being created as part of a 2K digital intermediate
workflow require careful file management.
 Freeze Frame clips and Still image files: Still frames used in Final Cut Pro projects,
including .tiff, .jpg, or Final Cut Pro created Freeze Frame clips, are also ignored by
Color. If you want to grade still frames in Color, you need to render them as self-
contained QuickTime .mov files, and edit them back into your Final Cut Pro sequence
to replace the original shot prior to sending the project to Color.
 Video or film output: While Color provides broadcast output of your project’s
playback for preview purposes, this is not intended to be used to output your
program to tape. This means that when you finish color correcting your project in
Color, the rendered output needs to be moved to Final Cut Pro for output to tape or
to another environment for film output.
Video Finishing Workflows Using Final Cut Pro
If a program has been edited using Final Cut Pro, the process of moving it into Color is
fairly straightforward. After editing the program in Final Cut Pro, you must reconform
the program, if necessary, to use the original source media at its highest available
quality.
Once that has been accomplished, you can send the project data and files into Color
for color correction. Upon completion of the color-correction pass, you’ll need to
render the result and send the project back to Final Cut Pro for final output, either to
tape or as a QuickTime file.
Output
Final
Master
XML XML
New Color
Corrected
Media
Online
Media
Color
Correction
Render
Final
Effects and
Output
Color Final
Cut Pro
Source Media
Final
Cut Pro
Edit
Send to
Color
Send to
Final Cut Pro
Media
Data