Apple Color 1.5 User Manual
Page 45
Important:
When you create offline duplicates of tapeless media, it's vital that you
duplicate and maintain the original filenames and timecode with which the source files
were created. This is critical to guaranteeing that you'll be able to easily relink to the
original high-resolution source files once the offline edit is complete.
Stage 3:
Editing the Program in Final Cut Pro
Edit your program in Final Cut Pro, as you would any other project. If you're planning on
an extensive use of effects in your program during editorial, familiarize yourself with the
topics covered in
.
Stage 4:
Relinking Your Edited Sequence to the Original Source Media
Once your offline edit is complete, you need to restore the original online-quality source
media and relink to or retransfer the high-resolution files.
Stage 5:
Prerendering Effects, Sending the Sequence to Color, and Grading
At this point, the workflow is identical to
Stage 6: Grading Your Program in Color
in
Reconforming Online Media in a Film-to-Tape Workflow
If you're working on a project that was shot on film but will be mastered on video, it must
be transferred from film to tape using a telecine prior to being captured and edited in
Final Cut Pro. At that point, the rest of the offline and online edit is identical to any other
tape-based format.
Telecine
Color
Final Cut Pro
Final Cut Pro
XML
Online
Media
XML
New Color
Corrected
Media
Render
Send to
Final Cut Pro
Send to
Color
Offline
and Online
Edits
Final
Effects and
Output
Color
Correction
Camera
Negative
Media
Data
Output
Final Master
Transferred
Video Media
Here's a more detailed explanation of the offline-to-online portion of this workflow.
45
Chapter 2
Color Correction Workflows