Product specifications

Render speed effects as self-contained QuickTime movies before sending to Color
Although speed effects are compatible with Final Cut Pro–to–Color roundtrips, they
should be exported as self-contained clips and reedited into your Timeline to replace the
original effects, as described in the previous section. If you’re preprocessing slow-motion
clips, you’ll achieve a better result by sending these clips to Motion and rendering them
using the optical flow analysis features in Motion. For more information, see Creating
High-Quality Slow-Motion Clips Using Motion.
Make sure that cross dissolves are the only transitions you use
When you render 2K or 4K DPX or Cineon image sequences, all video transitions are
rendered as linear dissolves when you use the Gather Rendered Media command to
consolidate the final rendered frames of your project in preparation for film output. This
feature is intended to support only film output workflows. Any other type of transition
(such as a wipe or iris) is rendered as a dissolve instead, so it’s a good idea to go through
your project and change the type and timing of your transitions as necessary before
sending your project to Color.
Create any animated pan and scan effects in Color
When you render DPX or Cineon image sequences, all the transformations made using
the Geometry room’s Pan & Scan tab are rendered and output. This includes effects that
were keyframed in Color.
Make Sure to Check the Color Documentation
Digital intermediate workflows can be complicated. Make sure you read the Color
documentation for more information about Color workflows, including how to organize
scanned film material and native RED QuickTime media, how to prepare Final Cut Pro
projects for sending to Color, and how to render media that’s appropriate for film
printing.
Digital Cinema Mastering
The process of creating a digital cinema master is similar to film printing, in that you
typically render a DPX image sequence as your final deliverable. However, you usually
send the consolidated image sequence that Color produces to a facility that’s set up to
encode and encrypt your program to the exacting standards required to create a digital
cinema distribution master.
For more information about outputting an appropriate DPX image sequence, see Printing
to Film.
114 Chapter 7 Output and Delivery