User manual

As a result, all 4K clips that match the resolution you chose have their scale
parameter reset to 1.000000, which is the native resolution of your media.
4. You also need to open the User Preferences tab of the Setup room and check the
Render Proxy setting before you render, to make sure that your project is rendered
at the correct resolution. For more information, see Using Proxies in Color.
Important – When Color renders native 4K RED QuickTime source files, any Pan &
Scan adjustments that you make are rendered by Color and “baked” into the rendered
media. This happens whether youʼre outputting DPX media for printing to film, or
QuickTime files to send back to Final Cut Pro.
Stage 5 — Render Out of Color
1. When youʼre ready to render the color-corrected project, you have two choices:
•
If youʼre printing to film – Set the Render File Type to DPX. As with the digital
intermediate workflow described in the Color User Manual, Pan & Scan effects are
rendered within Color when you select DPX or Cineon as your Render File Type,
and dissolves are rendered by Color when you use the Gather Rendered Media
command to assemble the final consecutively numbered image sequence for film
output.
•
If youʼre outputting to a YʼCbCr 4:2:2 videotape format – (this includes
DVCPRO HD, HDCAM, D-5, etc.) Set the Render File Type to QuickTime, and set
the QuickTime Export Codec to either Apple ProRes 422 (HQ) or Uncompressed
10-bit 4:2:2. After you render the project, send it back to Final Cut Pro.
•
If youʼre outputting to an RGB 4:4:4 videotape format – (this includes HDCAM
SR and 2K D-5) Set the Render File Type to QuickTime, and set the QuickTime
Export Codec to ProRes 4444. After you render the project, send it back to Final
Cut Pro.
Workflow 3: Work Offline Using ProRes;
Reconform to Native REDCODE Media Using Cinema Tools and Color
This workflow describes transcoding to one of the Apple ProRes codecs for efficient
offline editing, then exporting your edited sequence to Color via an Edit Decision List
(EDL), and relinking it to the original archived REDCODE media using a Cinema Tools
database. This workflow is ideal for programs that are not effects-intensive.
Using Native REDCODE Media with Final Cut Studio – Jun 15, 2009! 21