User manual

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Donʼt use the Motion tab to create animated pan and scan effects. Instead, use the
Pan & Scan tab in the Geometry room of Color, which lets you scale, recenter, change
the aspect ratio of, and rotate your clips, and which can be keyframed. Pan & Scan
effects are rendered along with your grades when you render DPX or Cineon image
sequences out of Color.
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Donʼt use superimpositions, transfer modes, speed effects, or filters, unless youʼre
planning on prerendering these clips (exporting each as a self-contained QuickTime
clip for reediting into the Timeline to replace the original effect) as ProRes 4444 media
before you send to Color. Color does not render these effects.
Color Workflows Using RED Media
This section covers the four supported post-production workflows when finishing
programs with RED media using Final Cut Pro and Color.
Workflow 1: Work and Finish Using Apple ProRes
This workflow describes transcoding your REDCODE media to 2K resolution Apple
ProRes clips, and then mastering using Apple ProRes.
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Advantage — This is a straightforward workflow with no reconforming necessary.
Editing using the Apple ProRes 422 (HQ) codec is simple and efficient, especially for
programs that are destined for output to a YʼCbCr-based tape format. Optionally
transcoding to Apple ProRes 4444 lets you retain the advantage of working with the
4:4:4 chroma sampled media, which provides additional latitude for color correction.
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Disadvantage — You lose the quality advantage of being able to grade and finish
using the original raw, linear light image data that native RED QuickTime files provide.
Also, transcoding RED media to one of the Apple ProRes codecs can be time-
consuming. Transcoded media is always resized to 2K resolution.
To Ingest and Finish Using Apple ProRes
1. Transcode your archived RED media to a suitable online-quality Apple ProRes
codec using the Log and Transfer window. (For more information, see “Transcoding
to One of the Apple ProRes Codecs.”)
2. Edit, finish, and output using the Apple ProRes codec you selected as you would any
other project.
Workflow 2: Work Offline Using Apple ProRes;
Reconform to Native RED QuickTime Media in Final Cut Pro
This workflow describes transcoding to Apple ProRes for efficient offline editing, then
reconforming your edited sequence to reingested RED QuickTime media for final
mastering and color correction using Color.
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Advantage — Editing media thatʼs been transcoded using one of the lower-bandwidth
Apple ProRes codecs is less processor-intensive than editing using native RED
QuickTime files. After you reconform your project to native RED QuickTime media, you
Using Native REDCODE Media with Final Cut Studio – Jun 15, 2009! 17