Apple Color 1.5 - Manual (Page 67)

To track the correspondence between the original still frames and the offline QuickTime
files that you'll create for editing, you should ask for the following:
• A non-drop frame timecode conversion of each frame's number (used in that frame's
filename) saved within the header of each scanned image.
• It can also help to organize all of the scanned frames into separate directories, saving
all the frames from each roll of negative to separate directories (named by roll).
• The resulting DPX files should be named using the following format:
fileName_0123456.dpx
(For more information on naming DPX and Cineon files, see
Required Image Sequence Filenaming .)
Stage 3: Converting the DPX Image Sequences to Offline-Resolution QuickTime Files
Create offline-resolution duplicates of the source media in whatever format is most
suitable for your editing system. Then, archive the original source media as safely as
possible.
When you convert the DPX files to offline QuickTime files:
• The roll number of each image sequence (taken from the name of the directory that
encloses the frames being converted) is used as the reel number for each .mov file.
• The timecode values stored in the header of each frame file are used as the timecode
for each .mov file. If there’s not timecode in the header, the frame number in the
filename is converted to timecode and used, instead.
You can use Color to perform this downconversion by creating a new project with the
Render File Type set to QuickTime and the Export Codec set to the codec you want to
use. Then, simply edit all the shots you want to convert into the Timeline, add them to
the Render Queue, and click Start Render. For more information, see
Converting Cineon
and DPX Image Sequences to QuickTime .
You can also use Compressor to perform this downconversion. For more information, see
the Compressor documentation.
Tip: If you downconvert to a compressed high definition format, such as Apple ProRes 422
or Apple ProRes 422 (HQ), you can offline your project on an inexpensively equipped
computer system and still be able to output and project it at a resolution suitable for
high-quality client and audience screenings during the editorial process.
Stage 4: Doing the Offline Edit in Final Cut Pro
Edit your project in Final Cut Pro, being careful not to alter the timecode or duration of
the offline media in any way.
67 Chapter 2 Color Correction Workflows