Apple Color 1.5 User Manual
Page 68
Stage 5:
Preparing Your Final Cut Pro Sequence
To prepare your edited sequence for an efficient workflow in Color, follow the steps
outlined in
Before You Export Your Final Cut Pro Project
. Because you’ll be exporting an
EDL to Color in order to relink to the original DPX image sequences, it’s prudent to be
extremely conservative and eliminate any and all effects that are unsupported by the
CMX EDL formats, or by Color itself.
Cross dissolves are the one exception. These are the only type of transition that Color
supports. Any other type of transition will be rendered as a cross dissolve of identical
length.
Stage 6:
Exporting an EDL
When you finish with the edit, you need to generate an EDL in either the CMX 340, CMX
3600, or GVG 4 Plus formats.
Important:
You cannot use the Send To Color command to move projects to Color that
are being reconformed to DPX or Cineon media.
Stage 7:
Importing the EDL into Color and Relinking to the Original DPX Media
Use the File > Import > EDL command to import the EDL. In the Import EDL dialog, specify
the directory where the original high-resolution source media is located, so that the EDL
is imported and the source media is relinked in one step. For more information, see
.
Stage 8:
Grading Your Program in Color
Grade your program in Color as you would any other. For better performance, it’s advisable
to use the Proxy controls in the User Prefs tab of the Setup Room to work at a lower
resolution than the native 2K or 4K frame size of the media. For more information, see
.
Important:
When grading scanned film frames, it's essential to systematically use carefully
profiled LUTs for monitor calibration and to emulate the ultimate look of the project
when printed out to film. For more information, see
Stage 9:
Conforming Transitions, Effects, and Titles
In a 2K workflow, you also need to use a compositing application such as Shake to create
any transitions or layered effects, including superimpositions, titles, and other composites,
using the 2K image sequence data.
Important:
Each image file's frame number identifies its position in that program's
Timeline. Because of this, when you send frames to a compositing application, it's vital
that the frame numbers in filenames of newly rendered media are identical to those of
the original source media. This requires careful file management.
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Chapter 2
Color Correction Workflows