Apple Color 1.0 User Manual
Page 46
46
Chapter 2
Color Correction Workflows
 Some productions prefer to save money up front by doing an inexpensive “one-light”
transfer of all the footage to an inexpensive offline video format for the initial offline
edit (a one-light transfer refers to the process of using a single color-correction
setting to transfer whole scenes of footage). This can save time and money up front,
but may necessitate a second telecine session to retransfer only the footage used in
the edit at a higher level of visual quality.
 Other productions choose to transfer all the dailies (or at least just the director’s
selected takes) via a “best-light” transfer, where the color-correction settings are
individually adjusted for every shot that’s telecined, optimizing the color and
exposure for each clip. The footage is transferred to a high-quality video format
capable of preserving as much image data as possible. This can be significantly more
expensive up front, but saves money later since a second telecine session is not
necessary.
Step 3:
Capture the source media at offline or online resolution
How you capture your media prior to editing depends on your workflow. If you
telecined offline-quality media, then you might as well capture using an offline quality
codec.
If you instead telecined online-quality media, then you have the choice of either
pursuing an “offline/online” workflow, or capturing via an online codec, and working at
online quality throughout the entire program.
Step 4:
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 the extensive use of effects in your program during editorial, familiarize yourself
with the topics covered in “
Step 5:
Recapture or retransfer the media at online resolution (if necessary)
How you conform your offline project to online-quality media depends on how you
handled the initial video transfer.
 If you originally did a high-quality telecine pass to an online video format, but you
captured your source media using an offline format for editing, you’ll need to
recapture the media from the original telecine source tapes using the highest quality
uncompressed QuickTime format that you can accommodate on your computer
(such as Apple ProRes 422, or Apple Uncompressed), and relink the new media to
your project.
 If you did an inexpensive one-light telecine pass to an offline video format, you’ll
want to do another telecine pass where you transfer only the media you used in the
program at high quality. Using Cinema Tools, you can generate a pull list, which you
then use to carefully retransfer the necessary footage to an online-quality video
format. Then, you’ll need to recapture the new online transfer of this media using the
highest quality uncompressed QuickTime format that you can accommodate on your
computer.