Apple Color 1.0 User Manual
Page 41
Chapter 2
Color Correction Workflows
41
Uncompressed video formats, or projects where there are many, many reels of source
media, may benefit from being captured at a lower resolution or with a more highly
compressed codec. This will save drive space and also enable you to edit using less
expensive equipment. Later, you’ll have to recapture the media prior to color
correction.
Step 2:
Edit the program in Final Cut Pro
Edit your program in Final Cut Pro, as you would any other project. If you’re planning
on an extensive use of effects in your program during editorial, familiarize yourself with
the topics covered in “
Step 3:
Recapture the source media at online resolution if necessary
If you originally captured your source media using an offline format, you’ll need to
recapture the media used in your project at the highest available quality prior to
sending it to Color.
 If your media was originally recorded using a compressed format (such as DV,
DVCPRO-50, DVCPRO HD, or HDV), then recapturing it using the original source
codec and resolution is fine; Color can work with compressed media, and
automatically promotes the image data to higher uncompressed bit depths for
higher quality imaging when monitoring and rendering.
 If you’re capturing a higher bandwidth video format (such as Betacam SP, Digital
Betacam, HDCAM, and HDCAM SR) and require high quality but need to use a
compressed format to save hard drive space and increase performance on your
particular computer, then you can recapture using the Apple ProRes 422 codec, or
the higher quality Apple ProRes 422 (HQ) codec.
 If you’re capturing high-bandwidth video and require the highest quality
uncompressed video data available, regardless of the storage requirements, you
should recapture your media using Apple Uncompressed 8-bit 4:2:2 or Apple
Uncompressed 10-bit 4:2:2.
You may also want to take the opportunity to use the Final Cut Pro Media Manager to
delete unused media prior to recapturing in order to save valuable disk space,
especially when recapturing uncompressed media. For more information, see the
Final Cut Pro documentation.
Note: Some codecs, such as HDV, can be more processor intensive to work with than
others. In this case, capturing or recompressing the media with a less processor-
intensive codec, such as Apple ProRes 422 or Apple ProRes 422 (HQ), will improve your
performance while you work in Color, while maintaining high quality and low storage
requirements.