User manual

5. When the Source Directory dialog appears, locate the Cinema Tools database you
created in Stage 2 (it will have a .ctdb file extension), and click Choose.
6. Click Import in the EDL Import Settings dialog.
A new Color project is created from the EDL, and the REDCODE media referenced
by the Cinema Tools database is automatically relinked to the clips in the Color
Timeline.
Stage 5 — Render the Color Project
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.
Note –#Itʼs important to check the Render Proxy setting in the User Preferences tab
of the Setup room before you render, to make sure that your project is rendered at
the correct resolution. For more information, see Using Proxies in Color.
Using Native REDCODE Media with Final Cut Studio – Jun 15, 2009! 25