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Extra resources for Color User Manual
You want to avoid unplanned gamma adjustments when sending media from Final Cut Pro to Color. It’s important to keep track of any possible gamma adjustments that occur when exporting or importing clips in Final Cut Pro during the editing process, so that these adjustments are accounted for and avoided during the Final Cut Pro–to–Color roundtrip. For more information on gamma handling in Final Cut Pro, see the Final Cut Pro 7 User Manual. Gamma is also used to describe a nonlinear adjustment made to the distribution of midtones in an image.
If there’s no timecode in the DPX headers, the frame number in the DPX filename will be converted into timecode, instead. ). This helps you to maintain the correspondence between the source DPX media and the Apple ProRes 4444 QuickTime files you’ve created, in case you ever need to go back to the original media. To make this easier, enter the roll number of each image sequence into the reel number of the converted QuickTime clip. You can do this in the Final Cut Pro Browser. For more information, see Converting Cineon and DPX Image Sequences to QuickTime.
You then have the option to further customize those effects in Final Cut Pro prior to rendering and output. • For 2K and 4K digital intermediates, as well as projects using 4K native RED QuickTime media, Geometry room transformations are processed by Color when rendering the output media. Note: When you send a project from Final Cut Pro to Color, compatible Motion tab settings are translated into Geometry room settings. You can preview and adjust these transformations as you color correct. For more information, see The Geometry Room.