Apple Color 1.5 User Manual
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To accommodate editorial changes, reconforming tools are provided to synchronize
an EDL or Final Cut Pro sequence with the version of that project being graded in Color.
For more information, see
• Filters: Final Cut Pro FXScript or FxPlug filters are neither previewed nor rendered by
Color. However, their presence in your project is maintained, and they show up again
once the project is sent back to Final Cut Pro.
Note: It's not generally a good idea to allow various filters that perform color correction
to remain in your Final Cut Pro project when you send it to Color. Even though they
have no effect as you work in Color, their sudden reappearance when the project is
sent back to Final Cut Pro may produce unexpected results.
• Final Cut Pro Color Corrector 3-way filters: Color Corrector 3-way filters applied to clips
in your sequence are automatically converted into adjustments to the color balance
controls, primary contrast controls, and saturation controls in the Primary In room of
each shot to which they’re applied. Once converted, these filters are removed from the
XML data for that sequence, so that they do not appear in the sequence when it’s sent
back to Final Cut Pro.
If more than one filter has been applied to a clip, then only the last Color Corrector
3-way filter appearing in the Filters tab is converted; all others are ignored. Furthermore,
any Color Corrector 3-way filter with limit effects turned on is also ignored.
• Transitions: Color preserves transition data that might be present in an imported EDL
or XML file, but does not play the transitions during previews. How they're rendered
depends on how the project is being handled:
• For projects being roundtripped from Final Cut Pro, transitions are not rendered in
Color. Instead, Color renders handles for the outgoing and incoming clips, and
Final Cut Pro is relied upon to render each transition after the project's return.
• When rendering 2K or 4K DPX or Cineon image sequences, all video transitions are
rendered as linear dissolves when you use the Gather Rendered Media command to
consolidate the finally rendered frames of your project in preparation for film output.
This feature is only available for projects that use DPX and Cineon image sequence
media or RED QuickTime media, and is intended only to support film out workflows.
Only dissolves are rendered; any other type of transition (such as a wipe or iris) will be
rendered as a dissolve instead.
• Superimpositions: Superimposed shots are displayed in the Timeline, but compositing
operations involving opacity and composite modes are neither displayed nor rendered.
• Speed effects: Color doesn't provide an interface for adding speed effects, relying instead
upon the editing application that originated the project to do so. Linear and variable
speed effects that are already present in your project, such as those added in
Final Cut Pro, are previewed during playback, but they are not rendered in Color during
output. Instead, Final Cut Pro is relied upon to render those effects in roundtrip
workflows.
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Chapter 2
Color Correction Workflows