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The Filmmaker’s Guide to Final Cut Pro Workfl ow<br />
equipment being very high, and with the online costs also being quite high, spending time color<br />
correcting while the rest of the online stands still makes no sense. So, many projects have been color<br />
correcting after the online by going tape-to-tape in a color-correction suite.<br />
Because the color corrector three-way settings are automatically applied in the online, many projects<br />
have nothing more done to them than tweaking the three-way settings once the fi nal image and color<br />
are seen. Now, with Color, it makes sense to follow the same basic workfl ow, but with Color as the<br />
grading software.<br />
Also, with Apple’s ProRes 422, there is no need to go to online unless you simply like that workfl ow.<br />
Which is a valid reason, the online is much more than equipment; it’s people. Experts help put the<br />
chosen look on the screen. Experts give advice on technical issues and help in hundreds of ways,<br />
but at a cost.<br />
So whether you are simply trying to save money, or you are a chronic do-it-yourselfer, which is also<br />
a valid reason, ProRes 422 and Color allow you to skip the online and color grade on your own<br />
system. It also seems very unlikely that someone would want to color grade their 2 K DI for 35 mm<br />
fi lm out on their own system, but here, too, they can if they want to.<br />
Many fi lmmakers are becoming “home movie rebels,” taking the term home movie to a radical new<br />
level. Several A-list fi lmmakers have their own mixing theater and Final Cut Pro edit system, so no<br />
doubt they will also be grading their own color.<br />
The power of the newer color grading systems have allowed fi lmmakers to create very unusual color<br />
manipulations, which have become common in fi lms and video projects over the last ten years. These<br />
wild looks have become almost a signature for fi lms made at the beginning of the new century, and<br />
may well be studied in fi lm history classes twenty years from now. But the power of these systems<br />
have added a wonderful new tool to the fi lmmakers toolbox, and stylish trend or not, this genie is<br />
unlikely to ever go peacefully back into the bottle.<br />
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