Apple Color 1.5 User Manual
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Stage 1:
Shooting Your Film
Shoot the project as you would any other film project.
Stage 2:
Telecining the Dailies
After the film has been shot, process and telecine the dailies to a video format appropriate
for your workflow.
• Some productions prefer to save money up front by doing an inexpensive "one-light"
transfer of all the footage to an inexpensive offline video format for the initial offline
edit. (A one-light transfer refers to the process of using a single color correction setting
to transfer whole scenes of footage.) This can save time and money up front, but may
necessitate a second telecine session to retransfer only the footage used in the edit at
a higher level of visual quality.
• Other productions choose to transfer all the dailies (or at least the director's selected
takes) via a "best-light" transfer, where the color correction settings are individually
adjusted for every shot that's telecined, optimizing the color and exposure for each
clip. The footage is transferred to a high-quality video format capable of preserving as
much image data as possible. This can be significantly more expensive up front, but
saves money later since a second telecine session is not necessary.
Stage 3:
Capturing the Source Media at Offline or Online Resolution
How you capture your media prior to editing depends on your workflow. If you telecined
offline-quality media, then you might as well capture using an offline-quality codec.
If you instead telecined online-quality media, then you have the choice of either pursuing
an "offline/online" workflow or capturing via an online codec and working at online quality
throughout the entire program.
Stage 4:
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
the extensive use of effects in your program during editorial, familiarize yourself with the
topics covered in
.
Stage 5:
Recapturing or Retransferring the Media at Online Resolution
The way you conform your offline project to online-quality media depends on how you
handled the initial video transfer.
• If you originally did a high-quality telecine pass to an online video format, but you
captured your source media using an offline format for editing, you need to recapture
the media from the original telecine source tapes using the highest-quality
uncompressed QuickTime format that you can accommodate on your computer (such
as Apple ProRes 4444, Apple ProRes 422 (HQ), or Apple Uncompressed) and relink the
new media to your project.
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Chapter 2
Color Correction Workflows