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Tuesday, July 22, 2008
Color Workflows With Different Video Formats
Andrew Balis | 07/22
Getting Video In and Out of Color
In the Timeline, you’ll also notice that the render bar above the clips is the standard “gray” color, indicating that the clips match the sequence settings.

7. Output to tape via FireWire to the same native format.
This workflow is exactly the same as the capture card workflow (workflow 1) except that the final sequence in Final Cur Pro will be in the same original DVCPRO HD format and can easily be output to DVCPRO HD tape via FireWire.
3) Start With Native Format - Output to Different Format
This workflow applies to two different scenarios:
1) Start with a native format (like DVCPRO HD), and output the video through a capture card to another videotape format at the best possible quality for final mastering.
2) Start with a native format that is supported for input into Color but is not supported as a format for output from Color. An example of this is HDV.
1. Capture or ingest the video via FireWire or USB from videotape, P2 card or XDCAM media. In this example, we’ll use HDV.
2. In Final Cut Pro, highlight the sequence, then go to File > Send to > Color.
3. After grading in Color, but before rendering, go to the Setup Room > Project Settings tab.
4. Choose an export format. Notice that the QuickTime Export codec pop-up is set to ProRes HQ by default, since the input format (HDV) is not supported for output in the same format.

If you click the pop-up for QuickTime Export Codec you’ll notice that Original Format is grayed out.

Although ProRes HQ is chosen in this case by default, you can choose other available options listed here, like an Uncompressed codec.
5. Add clips to Render Queue and render.
6. From the File menu choose > Send To > Final Cut Pro.
At this point you’ll be prompted by the following dialog box.
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A nicely written and much needed article.
Posted by Steve Hullfish on 07/25 at 02:40 PM
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