Download Color User Manual PDF

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Superimpositions and audio are not supported, and will be ignored. Final Cut Pro Capture Entire Program Color Online Media Create Color Project from EDL to “Notch” Online Media Color Correction Final Cut Pro Render New Color Corrected Media XML Final Effects and Output Send to Final Cut Pro EDL Tape Master Media EDL file Output Final Master Data Here's a more detailed explanation of this workflow. Stage 1: Capturing the Program Master If you were given the program master on tape, you need to capture the entire program using the highest-quality QuickTime format that you can accommodate on your computer (such as Apple ProRes 4444, Apple ProRes 422 (HQ), or Apple Uncompressed).

Any other type of transition in the sequence will be rendered as a dissolve of identical duration. • The only other types of effect that Color supports are Position, Rotation, Scale, and Aspect Ratio Motion tab settings, which are converted into Pan & Scan room settings. While keyframes for these settings in Final Cut Pro cannot be sent to Color, the Pan & Scan settings can be keyframed in Color later. Stage 6: Sending the Finished Sequence to Color When you finish prepping your edited sequence, there are two ways you can send it to Color.

Chapter 2 Color Correction Workflows 59 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.

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