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• You should export self-contained QuickTime files for effects clips that you want to color
correct in context. Color doesn’t support media like generators or embedded Motion
clips. If you want to color correct these kinds of effects, you need to export self-contained
QuickTime files and then reedit these into your sequence to replace the original effects.
• All freeze frames should be moved to track V1. Color supports only freeze frames that
appear in track V1.
• If you’re transporting your project to another facility, you should use the Media Manager
to remove media not used in your sequence and consolidate all your files in one place.
• If you’re rendering 2K or 4K DPX or Cineon media in Color and outputting it for film
printing, you should restrict your sequence to using cross dissolve transitions only.
Cross dissolves are the only transitions that Color renders in digital intermediate
workflows.
Rendering Your Project and Sending It Back to Final Cut Pro
As described in “Finishing Using Compressed Versus Uncompressed Media,” it’s typical
to choose a high-quality mastering codec with which to render your color-corrected
media, to ensure the highest quality for your program. Prior to rendering, you should
also choose where this media is rendered (using the Project Render Directory button in
the Project Settings tab of the Setup room of Color).
Sending your program back to Final Cut Pro is straightforward, but you need to keep
track of the new color-corrected media that Color rendered. When you ultimately archive
your project and media, it’s critical to also archive the rendered Color media in addition
to the source media that your project uses.
Making Color Correction Changes After Your Project Is Back in Final Cut Pro
If you need to make revisions to the color corrections of a sequence that you’ve already
sent from Color to Final Cut Pro, don’t send the sequence named “from Color” back to
Color. The correct method is to quit Final Cut Pro, reopen the originating Color project,
make your changes, and then do one of the following:
• If you didn’t change the grade number used by any of the shots in Color: Simply rerender
the clips you changed, save the Color project, and then reopen the Final Cut Pro project
that has the sequence that was originally sent “from Color.” The rerendered media
overwrites the previous media and is immediately reconnected when you reopen the
Final Cut Pro project.
• If you did change the grade number of any of the shots in Color: You need to send the
project back to Final Cut Pro and use the new “from Color” sequence to finish your
program.
Following this process makes it easier to manage your media and keep track of your
revisions, and also prevents any of your clips from being rendered twice unnecessarily.
88 Chapter 5 Finishing