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Filed under: Post Production •

Color Workflows With Different Video Formats

On the other hand, the Sequence Settings are 1440x1080 and HDV.

Because the clips and sequence don’t match, you will see a colored render bar over the sequence clips indicating a mismatch between the clips and sequence settings.

8. Render the sequence and output to tape using the same native format you started with. Even though the clips are ProRes, the sequence itself is still HDV, and once rendered and conformed, the sequence is in the proper format for output back to HDV tape.

As a final side note, although I used HDV as an example, many users of Color highly recommend that you convert HDV video into a different format before bringing it into Color. Aside from the fact that other formats user a higher quality color space and are more pliable in post production, users have reported problems that seem to be related to the nature of the Long-GOP compression used in HDV and XDCAM. These same users are reporting problems with in or out points shifting, or keyframe animations not being executed on the correct frames. This is something to keep in mind if you plan on doing extensive grading on clips that originated from HDV or XDCAM sources. 

Hopefully, this article cleared away some of the fog regarding the best ways to get your footage in and out of Color.  Color is a powerful grading tool, but to use it effectively, you need to have a solid understanding on the way Color handles with the myriad of video formats now available.

Andrew Balis a cinematographer, editor, post production consultant and Apple certified instructor. Andrew is the author of ‘Color Grading in Color’ and ‘Color Correction in Final Cut Pro’ tutorials from Ripple Training.

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