Apple Color 1.5 - Manual (Page 73)

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
Using Proxies .
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
Using LUTs .
Stage 9: Conforming Transitions, Effects, and Titles, Rendering Media, and Gathering
Rendered Media
At this point, the process is the same as in Stage 9: Conforming Transitions, Effects, and
Titles in A Tapeless DI Workflow .
Using EDLs, Timecode, and Frame Numbers to Conform Projects
Using careful data management, you can track the relationship of the original camera
negative to the video or digital transfers that have been made for offline editing using
timecode. The following sections provide information on how Color tracks these
correspondences.
• For more information on how Color relinks DPX images to EDLs, see How Does Color
Relink DPX/Cineon Frames to an EDL?
• For more information on how color parses EDLs for DI conforms, see Parsing EDLs for
Digital Intermediate Conforms .
• For more information on how your image sequences should be named for DI workflows,
see Required Image Sequence Filenaming .
How Does Color Relink DPX/Cineon Frames to an EDL?
The key to a successful conform in Color is to make sure that the timecode data in the
EDL is mirrored in the scanned DPX or Cineon frames you're relinking to. The
correspondence between film frames and timecode is created during the first telecine
or datacine transfer session.
How Is Film Tracked Using Timecode?
A marker frame is assigned to the very beginning of each roll of film, at a point before
the first shot begins (typically before the first flash frame). A hole is punched into the
negative, which permanently identifies that frame. This marker frame is assigned the
timecode value of XX:00:00:00 (where XX is an incremented hour for each subsequent
camera roll being transferred), creating an absolute timecode reference for each frame
of film on that roll. Each camera roll of film is usually telecined to a new reel of videotape
(each reel of tape usually starts at a new hour), or datacined to a separate directory of
DPX files.
73 Chapter 2 Color Correction Workflows