Appendix 1

The Filmmaker’s Guide to Final Cut Pro Workfl ow
Color is linked through the XML metadata in the project to the original media, so the project can
move between Final Cut Pro and Color at any time and the color corrections stay intact in both
projects. Color renders new versions of the original media, keeping it intact while linking both the
Final Cut Pro and Color projects to the new corrected media. When changes are made, Color returns
to the original media and rerenders it to the new grading replacing the older render. Each render is
therefore a fi rst-generation render of the original media, so there is no loss when layering color
grading effects.
Color “Room”
Color uses eight screens or “rooms” to layer the grading in a step-by-step process. Remember, this
is actually the second or third step in the color grading process, the fi rst and most powerful step being
in production with exposure, fi ltering, and camera settings. On fi lm projects the next step is telecine,
also a very powerful step in color correction. Once the image is captured into Final Cut Pro in a
compressed format, Color can adjust and stylize the look, but the garbage rule is still in full effect:
garbage in, garbage out.
The Color workfl ow starts with primary in. In this “room” the shots or even entire sequences are corrected
to a consistent and “accurate” look. As the project is edited, the other steps or “rooms” can be
visited in any order and returned to at any time. The following text details the other seven rooms.
Secondaries
From the secondary room, as shown in Figure 9.2, selected colors and areas can be manipulated
individually. Called Power Windows by da Vinci Systems, these tools can be used to select an area
Figure 9.2 Secondaries
136