Apple Color 1.5 - Manual (Page 52)

Mastering from a single set of Apple ProRes 4444 media keeps your workflow simple,
making media management straightforward, and eliminating the need to retransfer or
relink to the source DPX media later. The only disadvantage to this method is that it can
require a substantial amount of storage, depending on the length and shooting ratio of
the project.
HDCAM SR Media
Camera
Negative
Datacine
Transfers 2K/4K DPX
Image
Sequence
Color
Correction
Final Cut Pro
Ingest into
Final Cut Pro
Color
Offline Edit
Color
DPX
Convert to
QuickTime
Media
Media Data
Send to Color
Create offline
duplicates
Apple ProRes
4444 Media
Edit Conform
Film Output
Film
Recorder
Film
Print
Final Output
Sequence
DPX
Render
The following steps break this process down more explicitly. Because of the extra steps
needed, this workflow assumes that you’re shooting film.
Stage 1: Running Tests Before You Begin Shooting
Ideally, you should do some tests before principal photography to see how the film
scanner–to–Color–to–film recorder pipeline works with your choice of film formats and
stocks. It's always best to consult with the film lab you'll be working with in advance to
get as much information as possible.
52 Chapter 2 Color Correction Workflows