Apple Color 1.5 - Manual (Page 47)

• If you did an inexpensive one-light telecine pass to an offline video format, you'll want
to do another telecine pass where you transfer only the media you used in the program
at high quality. Using Cinema Tools, you can generate a pull list, which you then use
to carefully retransfer the necessary footage to an online-quality video format. Then,
you need to recapture the new online transfer of this media using the highest-quality
uncompressed QuickTime format that you can accommodate on your computer.
Important: Do not use the Media Manager to either rename or delete unused media in
your project when working with offline media that refers to the camera negative. If you
do, you'll lose the ability to create accurate pull lists in Cinema Tools.
Stage 6: 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 A
Tape-Based Workflow .
Importing Projects from Other Video Editing Applications
Color is also capable of importing projects from other editing environments, by importing
edit decision lists (EDLs). An EDL is an event-based list of all the edits and transitions that
make up a program.
Once you've imported your project file into Color and copied the program media onto a
storage device with the appropriate performance, you can then link the shots on the
Color Timeline with their corresponding media.
• For more information about importing EDLs into Final Cut Pro before sending to Color,
see Importing EDLs in a Final Cut Pro–to–Color Roundtrip .
• For more information about importing EDLs directly into Color, see Importing and
Notching Preedited Program Masters .
Importing EDLs in a Final Cut Pro–to–Color Roundtrip
If you've been provided with an edit decision list of the edited program and a box of
source media, you can import the EDL into Final Cut Pro to capture the project's media
and prepare the project for sending to Color. In addition to being able to recapture the
footage, Final Cut Pro is compatible with more EDL formats than is Color. Also, Final Cut Pro
is capable of reading superimpositions, all SMPTE standard transitions, and audio edits,
in addition to the video edits.
47 Chapter 2 Color Correction Workflows