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To ensure a smooth reconform in Color, you need to request that the timecode that
identifies each frame of negative (relative to the marker frame at the beginning of the
roll) be converted to frames and used to generate the filenames for each scanned DPX
file, and that the timecode also be written into the DPX header of each shot. The names
of the resulting image sequence frames should take the following form:
SequenceName_0123456.dpx.
Lastly, each image sequence from a particular film roll should be placed into a directory
that is named with the number of that roll. There should be a separate directory for
each roll of camera negative that is scanned.
Stage 3: Exporting an EDL
When you finish preparing your sequence and getting the DPX media ready, you need
to generate an EDL in the CMX 340, CMX 3600, or GVG 4 Plus format that you can use in
Color. You cannot use the Send To Color command to move projects to Color that are
being reconformed to DPX or Cineon media.
Stage 4: Importing the EDL into Color and Relinking to the High-Quality DPX Media
Use the Import EDL command in Color to import the EDL. In the Import EDL dialog, you
also specify the directory where the original high-resolution source media is located, so
that the EDL is imported and the source media is relinked in one step.
Stage 5: Grading and Outputting from Color, or Sending Back to Final Cut Pro
At this point, you’re ready to grade your program in Color. When you finish, you have
two options:
• Render DPX media for film printing: You can render DPX media, in which case you’ll later
follow the procedures for gathering the rendered media in order to assemble a single,
continuous image sequence that can be printed to film.
• Render QuickTime media for video output: You can render QuickTime files, in which case
you have the option of sending your project back to Final Cut Pro for further finishing
and output to video.
Creating Final Broadcast Design Elements and Effects
The finishing process is also the time to replace any temporary or placeholder effects,
broadcast design animations, and stills with the final versions you’ll use for mastering
and outputting.
When creating your final effects clips, it’s usually best to render them using a
mastering-quality codec (such as one of the Apple ProRes or Uncompressed codecs),
regardless of which codec you’re using for the rest of the media in your program. For
example, if you’ve reconformed your sequence to use the originally shot DV-25 media,
it’s still preferable to render your effects clips using a higher-quality codec to avoid
introducing unnecessary compression artifacts.
79Chapter 5 Finishing