Apple Color 1.5 - Manual (Page 115)

Reconforming Projects
Whether your project was sent from Final Cut Pro, or imported via an EDL from any other
editing environment, you have the option of automatically reconforming your Color
project to match any editorial changes made to the original Final Cut Pro sequence, which
can save you hours of tedious labor.
Color matches each project to the sequence that was originally sent to Color using an
internal ID number. Because of this, you can only reconform by reediting the actual
sequence that you originally sent to Color. Any attempt to reconform a duplicate of the
original sequence will not work.
To reconform an XML-based Color project
1 Export an updated XML file of the reedited Final Cut Pro sequence from Final Cut Pro.
2 Open the Color project you need to update, then choose File > Reconform.
3 Select the XML file that was exported in step 1 using the Reconform XML dialog, then
click Load.
The shots in the Timeline should update to reflect the imported changes, and the
Reconform column in the Shots browser is updated with the status of every shot that
was affected by the Reconform operation.
You can also reconform projects that were originally imported using EDLs.
To reconform an EDL-based Color project
1 Export an updated EDL of the reedited sequence from the originating application.
2 Open the Color project you need to update, then choose File > Reconform.
3 Select the EDL file that was exported in step 1 using the Reconform dialog, then click
Load.
As is the case when you reconform an XML-based project, the Reconform column in the
Shots browser in the Setup room is updated with the status of each shot that’s been
modified by the Reconform operation. This lets you identify shots that might need
readjustment as a result of such changes, sorting them by type for fast navigation. For
more information, see
Column Headers in the Shots Browser .
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 you’re starting out with 2K or 4K DPX or Cineon film scans or digital camera output,
you can downconvert matching QuickTime media files at offline resolution by choosing
a smaller resolution preset, and choosing ProRes 422 as the QuickTime export codec.
You can then use this media to do an offline edit.
115 Chapter 4 Importing and Managing Projects and Media