Apple Color 1.0 - Manual (Page 88)

88 Chapter 4 Importing and Managing Projects and Media
 JPEG 2000 (import only): Developed as a high-quality compressed format for
production and archival purposes, JPEG 2000 uses wavelet compression to allow
compression of the image while avoiding visible artifacts. Advantages include higher
compression ratios with better visible quality, options for either lossless or lossy
compression methods, the ability to handle both 8- and 16-bit linear color encoding,
error checking, and metadata header standardization for color space and other data.
Converting Cineon and DPX Image Sequences to QuickTime
You can use Color to convert Cineon and DPX image sequences to QuickTime files to
facilitate a variety of workflows.
 If your project is starting out with high-resolution 2K datacine film scans or digital
camera output, you can downconvert matching QuickTime media files with which to
do the offline edit.
 If your project media is in the QuickTime format, but you want to output a series of
Cineon or DPX image sequences, you can do this conversion as well.
When converting from Cineon and DPX to high definition or standard definition
QuickTime video (and vice versa), Color automatically makes all necessary color space
conversions. Log media will be converted to linear, and Rec. 701 and 601 color spaces
are taken into account.
To convert Cineon or DPX image sequences to QuickTime:
1 Create an empty project.
2 Open the Prjct Settings tab of the Setup room, and do the following:
a Click Project Render Directory, choose a render directory for the converted media,
then click Choose.
b Choose QuickTime from the Render File Type pop-up menu.
c Choose a resolution from the Resolution Presets pop-up menu.
d Choose the codec you want to convert the image sequences to from the Export
Codec pop-up menu.
3 Using the file browser, edit all the shots you want to convert into the Timeline.
4 If necessary, grade the shots to make any corrections to the offline media that you’ll be
generating.
Sometimes, the source media from a particular camera or transfer process has a specific
color correction or contrast adjustment that must be made for the media to look
acceptable during the edit. If this is the case, you can use a single correction to adjust
every shot you’re converting (the equivalent of a one-light transfer). Other times, you’ll
want to individually correct each shot prior to conversion to provide the best-looking
media you can for the editing process (the equivalent of a best-light transfer).