Apple Color 1.0 - Manual (Page 40)

40 Chapter 2 Color Correction Workflows
Exactly how you conform your source media in Final Cut Pro depends on the type of
media that’s used.
A Tape-Based Workflow
For a traditional offline/online tape-based workflow, the process is simple. The tapes are
captured into Final Cut Pro, possibly at a lower quality offline resolution to ease the
initial editing process by using media that takes less hard drive space, and is easier to
work with using a wider range of computers.
After the offline edit is complete, the media used by the edited program must be
recaptured from the source tapes at maximum quality. The resulting online media is
what will be used for the Final Cut Pro to Color round trip.
The following steps break this process down more explicitly.
Step 1: Capture the source media at offline or online resolution
How you approach capturing your media prior to editing depends on its format.
Compressed formats, including DV, DVCPRO-50, DVCPRO HD, and HDV, can be captured
at their highest quality without requiring enormous storage resources. If this is the
case, then capturing and editing your media using its native resolution and codec lets
you eliminate the time-consuming step of recapturing (sometimes called conforming)
your media later on.
Output
Final
Master
XML XML
New Color
Corrected
Media
Online
Media
Color
Correction
Render
Final
Effects and
Output
Color Final
Cut Pro
Final
Cut Pro
Offline
Edit
Send to
Color
Send to
Final Cut Pro
Source Media
Media
Data
Offline
Duplicates
Online
Reconform