2009
Table Of Contents
- Final Cut Studio Workflows
- Contents
- Introduction
- Developing a Post-Production Strategy
- Ingesting and Organizing Your Media
- Integration During Editorial Development
- Client Review
- Finishing
- What Is Finishing?
- Finishing Using Compressed Versus Uncompressed Media
- Format Conversion When Finishing Mixed-Format Sequences
- Reconforming Media to Online Quality
- Creating Final Broadcast Design Elements and Effects
- Color Correction
- Final Sound Editing, Design, and Mixing
- Mastering
- Output and Delivery
Printing to Film
In any digital intermediate (DI) workflow involving Final Cut Studio, the final deliverable
is typically a single, continuous DPX image sequence of your entire program. Because it’s
an uncompressed RGB 4:4:4 format that’s capable of containing 10-bit log data, DPX is
usually the preferred data format for delivering image sequences for film printing.
Unlike workflows in which a Color project is sent back to Final Cut Pro for output, you
use Color to render the final deliverable image sequence, collating it for film output using
the Gather Rendered Media command.
If you’re outputting an image sequence from Color for printing to film, here are some
things to remember.
Render incompatible effects as self-contained QuickTime movies before sending to
Color
Because Color is rendering the final media, you need to make sure that every clip you
send to Color is in a compatible format or uses compatible effects. Effects that aren’t
compatible with Color for purposes of rendering film output include:
• Filters
• Generators
• Embedded Motion projects
• Certain Final Cut Pro Motion tab settings, including Crop, Distort, Opacity, Drop Shadow,
and Motion Blur
• All keyframes applied to Motion tab settings in Final Cut Pro
• Superimposed clips using opacity or composite modes
You need to export every clip in your Final Cut Pro project that uses an effect that isn’t
compatible with Color as a self-contained QuickTime file. You then reedit these exported
QuickTime files into the Timeline of your sequence to replace the original effects before
you send your sequence to Color.
Note: If your program requires effects work such as titles and superimpositions, these
may be created as self-contained QuickTime movies and edited into your program either
before you send it to Color, or after you export your final image sequence from Color
using a compositing application that can import and output DPX image sequences. If
you insert effects after the final render, make sure to carefully maintain the frame naming
and numbering of each shot you process.
113Chapter 7 Output and Delivery