Color. Final Cut Studio Workflows.
You’ve finished the edit. Now it’s time to give your project a memorable look. Send it to Color with a single click, perform sophisticated color grading, then return color-corrected media files to Final Cut Pro without losing any of the original XML data from your edit.
Round-trip integration
Send sequences from Final Cut Pro to Color with a single click. You’ll see the constant speed effects play back just the way they do in Final Cut Pro, and you can correct multilayered video in place. When you’ve finished your color grade, send the project back to Final Cut Pro for finishing and output.
Nondestructive XML-based workflow
All of the Final Cut Pro XML metadata from your edit is preserved when you send your project between Final Cut Pro and Color. The metadata used by Color points to your original media; after you finish your color grade, render out, and send the project back to Final Cut Pro, the sequences automatically point to the new color-graded media, leaving your original files intact.
Digital Intermediate workflows
More and more feature films are produced with Digital Intermediate (DI) workflows. DI workflows are used for productions that are shot on film, scanned to a high-resolution 4:4:4 2K data format, edited digitally, and then released on film, as digital cinema, or as high-definition video. Some studios skip the film original and go direct to tapeless DPX video by shooting with a high-resolution camera such as the Thomson Viper.
Edit a Digital Intermediate in Final Cut Pro 6 using ProRes 422 proxies, then send your project to Color for color grading and final output using the original 2K DPX media. Render out DPX files for the final film out or digital cinema master while retaining 4:4:4 2K quality. For broadcast or video release, you can output high-quality 10-bit ProRes 422 or uncompressed HD.
