Apple Color 1.5 - Manual (Page 20)

If the online assembly is happening in a high-end online suite, then color correction can
be performed either during the assembly of the master tape or after assembly by running
the master tape through a color correction session.
Videotapes Tape Suite Final Master Tape Offline Edit
Note: If the final master tape is color corrected, the colorist must carefully dissolve and
wipe color correction operations to match video dissolves and wipes happening in the
program.
Either way, the video signal is run through dedicated video color correction hardware
and software, and the colorist uses the tape’s master timecode to set up and preserve
color correction settings for every shot of every scene.
The evolution of the online video color correction suite introduced many more tools to
the process, including separate corrections for discrete tonal zones, secondary color
correction of specific subjects via keying and shapes controls, and many other creative
options.
Color Correcting via a Second Telecine Pass
Programs shot on film that are destined for video mastering, such as for an episodic
broadcast series, may end up back in the telecine suite for their final color correction
pass. Once editing is complete and the picture is locked, a cut list or pull list (similar to
that used for a negative conform) is created that matches the EDL of the edited program.
Using the cut list, the post-production supervisor pulls only the film negative that was
actually used in the edit. Since this is usually a minority of the footage that was originally
shot, the colorist now has more time (depending on the show’s budget, of course) to
perform a more detailed color correction pass on the selected footage that will be
assembled into the final video program during this final telecine pass.
Although this process might seem redundant, performing color correction directly from
the film negative has several distinct advantages. Since film has greater latitude from
black to white than video has, a colorist working straight off the telecine potentially has
a wider range of color and exposure from which to draw than when working only with
video.
20 Chapter 1 Color Correction Basics