Apple Final Cut Pro 7 - Manual (Page 1341)

After the second color correction pass, the color-corrected selects are reassembled to
match the original edit, and the project is mastered to tape.
Perform initial
correction pass
Edit Color correct
shots in cut list
Reassemble
color-corrected clips
Other Advantages of Telecine Transfers
In addition to color correction, a colorist working with a telecine has many other options
available, depending on what kinds of issues may have come up during the edit.
• Using a telecine to pull the image straight off the film negative, the colorist can
reposition the image to include parts of the film image that fall outside the action safe
area of video.
• With the telecine, the image can also be enlarged optically up to 50 percent without
distortion.
• The ability to reframe shots in the telecine allows the director or producer to make
significant changes to a scene, turning a medium shot into a close-up for dramatic
effect, or moving the entire frame up to crop out a microphone that’s dipped
inadvertently into the shot.
Tape-to-Tape Color Correction
With projects shot on videotape, the color correction process tends to be a little simpler.
There is not usually much attention paid to fine-tuning the video being digitized for an
offline edit. Once you begin your online edit on a nonlinear editor (NLE), each tape is
calibrated to match the color bars at the head of the tape whenever you’re recapturing
your footage at its highest quality for final output, to ensure that the colors are correct.
If you’re doing your online edit in a tape suite, the online editor takes care of this step.
1341 Chapter 79 About Color Correction