Apple Color 1.5 - Manual (Page 117)

d Choose the codec you want to convert the image sequences to from the Export Codec
pop-up menu. (For more information about choosing a suitable output codec, see
Compatible QuickTime Codecs for Output .)
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 needs a specific
color correction or contrast adjustment in order to look good during the offline 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). At 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).
Tip: To quickly apply a single correction to every shot in the Timeline, grade a
representative shot in the Primary In room, then click Copy to All.
5 Open the Render Queue, then click Add All.
6 Click Start Render.
All of the shots are converted, and the rendered output is written to the currently specified
render directory.
Important: After you’ve rendered the converted output, it’s a good idea to save the Color
project file you created to do the conversion, in case you need to reconvert the media
again. You might do this to improve the “one-light” color correction you applied to the
converted media, or to change the codec used to do the conversion. Keeping the original
conversion project makes it easy to reconvert your media in the same order, with the
same automatically generated file names, so you can easily reconnect a Final Cut Pro
sequence containing previously converted media to a new set of reconverted media.
For more information about options in the Render File Type, Resolution Presets, and
Export Codec pop-up menus, see
Resolution and Codec Settings .
Importing Color Corrections
The File > Import > Color Corrections command lets you apply the grades and color
corrections from the shots of one project file to those within the currently open project.
It’s meant to be used with Color projects that are based on the same source, so that a
newly imported version of a project you’ve already been working on can be updated
with all the grades that were applied to the previous version.
For this command to work properly, the project you’re importing the color corrections
from must have the same number of shots in the Timeline as the project you’re applying
the imported color corrections to. The shot numbers in each project are used to determine
which color correction is copied to which shot. For example, the color correction from
shot 145 in the source project is copied to shot 145 in the destination project.
117 Chapter 4 Importing and Managing Projects and Media