Apple Color 1.5 - Manual (Page 35)

Taking maximum advantage of Color requires careful workflow management. This chapter
outlines where Color fits into your post-production workflow.
Color has been designed to work hand in hand with editing applications like Final Cut Pro
via XML and QuickTime media support, or with other editorial environments via EDL and
image sequence support. While video and film input and editing are taken care of
elsewhere, Color gives you a dedicated environment in which to focus on color correction
and related effects.
This chapter gives you a quick overview of how to guide your project through a workflow
that includes using Color for color correction. Information is provided about both standard
and high definition broadcast video workflows, as well as 2K digital intermediate workflows.
This chapter covers the following:
• An Overview of the Color Workflow (p. 35)
• Limitations in Color (p. 37)
• Video Finishing Workflows Using Final Cut Pro (p. 39)
• Importing Projects from Other Video Editing Applications (p. 47)
• Digital Cinema Workflows Using Apple ProRes 4444 (p. 50)
• Finishing Projects Using RED Media (p. 56)
• Digital Intermediate Workflows Using DPX/Cineon Media (p. 65)
• Using EDLs, Timecode, and Frame Numbers to Conform Projects (p. 73)
An Overview of the Color Workflow
All controls in Color are divided into eight tabbed rooms, each of which corresponds to
a different stage in a typical color correction workflow. When you move from room to
room, the buttons, dials, and trackballs of your control surface (if you have one) remap
to correspond to the controls in that room.
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Color Correction Workflows 2