Apple Color 1.5 - Manual (Page 60)

Stage 3: Editing Using Apple ProRes Media
Edit your project in Final Cut Pro, being careful not to alter the timecode of the offline
master media in any way. If you want to minimize the amount of preparation you’ll be
doing later in
Stage 5: Preparing Your Final Cut Pro Sequence , keep the following
limitations in mind while you edit:
• Restrict transitions in your project to cross dissolves only. When you render DPX image
sequences out of Color and use the Gather Rendered Media command to prepare a
single image sequence for film printing, Color automatically processes all cross dissolves
in your program. Other transitions are not supported, and will instead be processed as
cross dissolves if they’re present in your project.
• Keyframes are not sent from Final Cut Pro to Color, so don’t use the Motion tab to create
animated Pan & Scan effects. Instead, use the Pan & Scan tab in the Geometry room of
Color, which lets you scale, recenter, change the aspect ratio of, and rotate your clips,
and which can be keyframed. Pan & Scan effects are rendered along with your grades
when you render DPX or Cineon image sequences out of Color.
• Don’t use superimpositions, transfer modes, speed effects, or filters, unless you’re
planning on prerendering these clips (exporting each as a self-contained QuickTime
clip and reediting them into the Timeline to replace the original effects) as Apple ProRes
4444 media before you send them to Color. Color does not render these effects.
Stage 4: Reconforming Your Project to Native RED QuickTime Media
Once your edit is locked, prepare your edited sequence to be media-managed by moving
all video clips that aren’t being superimposed as part of a compositing operation down
to track V1. This makes navigation and grade management much easier once you start
working in Color, and also eliminates unused clips directly from the Timeline, reducing
the amount of media needing to be reconformed.
Next, you’ll media manage your project to create an offline version of your edited sequence
with the appropriate sequence settings, and then batch transfer the resulting sequence
using the Log and Transfer window to reingest native RED QuickTime media from the
originally archived RED media directories.
See the Final Cut Pro 7 User Manual for more information.
60 Chapter 2 Color Correction Workflows