Apple Color 1.5 - Manual (Page 56)

Stage 11: Creating Additional Transitions, Effects, and Titles
In a 2K or 4K workflow, you can also use a compositing application such as Shake to create
additional transitions or layered effects, including superimpositions, titles, and other
composites, after the color correction has been completed.
Each image file's frame number identifies its position in that program's Timeline. Because
of this, when you send frames to a compositing application, it's vital that the frame
numbers in filenames of newly rendered media are identical to those of the original
source media. This requires careful file management.
Finishing Projects Using RED Media
RED media has become an important acquisition format for both broadcast and digital
cinema. When you install the necessary software to use RED media with Final Cut Studio,
you get access to a variety of workflows for ingesting, grading, and mastering programs
using native RED QuickTime movies in Final Cut Pro and Color.
This section describes the various RED workflows that Final Cut Studio supports. For
information about grading controls that are specific to native RED QuickTime clips, see
The RED Tab .
When you’re working on a project that uses RED media, there are essentially four workflows
you can follow:
Transcode All Native RED QuickTime Media to Apple ProRes 422 (HQ)
If you’re mastering specifically to video, one very simple workflow is to transcode from
RED to Apple ProRes 422 (HQ) clips, and then master Apple ProRes 422 (HQ). After initially
ingesting and transcoding using the Log and Transfer window, this workflow is similar
to the master flowchart shown in
Video Finishing Workflows Using Final Cut Pro .
Keep in mind that whenever you transcode native RED R3D media to Apple ProRes using
the Log and Transfer window, you preprocess the original RAW image data. For more
information, see
RED Metadata Versus Color Processing in Transcoded Media .
• Advantages: Simple workflow for video mastering. Apple ProRes 422 (HQ) can be easily
edited on most current computers. Apple ProRes 422 (HQ) is suitable for high definition
video mastering, and media can be sent directly to Color for finishing without the need
to reconform.
• Disadvantages: Transcoding may take a long time. You lose the quality advantage of
being able to grade and finish using the RAW RGB 4:4:4 data that native RED QuickTime
files provide.
56 Chapter 2 Color Correction Workflows