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Full production studios and one-man shops alike need to learn the features of Apple's professional suite of video and audio production applications. In Final Cut Studio Overview, author and Apple Certified Instructor Damian Allen gives a crash-course in this all-in-one solution for any video studio or freelance editor. Damian gives a quick look into each application in the studio, highlighting selected new features for experienced users. From video editors, color graders, motion graphic artists, and movie scorers, there is something for everyone in Final Cut Studio Overview.
Tools like Final Cut Pro's Color Corrector 3 Way help make simple global changes to the look of your video. But to professionally grade your edited sequences for final delivery, you'll want to send them to Color. Color's dedicated primary and secondary grading tools expand well beyond Final Cut Pro's filters to give you complete control over the final look of your movie. Final Cut Studio offers a complete round-trip solution for grading in color. But before you send your sequence to Color, there are a few things you need to know.
First of all any color corrections you have created using the Color Corrector 3 Way will be converted to primary color corrections in Color. But avoid using any other color correction filters in Final Cut Pro since they will be ignored. Also, make sure you only use one instance of the Color Corrector 3 Way on any given clip. Filters applied to your clips in Final Cut Pro like this Light Rays effect will be ignored by Color, but it will be re-applied in Final Cut Pro when your project returns from Color.
If your filter has changed the color of clips, you may need to compensate for the changes when you adjust those clips inside of Color. Transitions created in Final Cut Pro won't be visible in Color but they will be preserved when you return to Final Cut Pro. Motion projects and other nested sequences in your Timeline will not be available to edit in Color. So if you want to grade them in Color, you will need to render them as self-contained QuickTime movies and then replace the originals in the Final Cut Pro Timeline.
And finally, for picture-in-picture and other superimposed composting effects, Color will only display the topmost shot. You will be able to grade the other shots by hiding the topmost shot, but you may find it easier to render a QuickTime movie of the superimposed section and replace the original clips in your Final Cut Pro Timeline. To send your sequence to Color, first make sure that the sequence is conformed using the highest quality format available. You can use the Media Manager to re-conform as necessary. Ctrl+Click or right-click the sequence in the Project bin and choose Send To > Color.
Name the Color project to be created and click OK. Color launches and you'll be asked to choose which directory you'll use to store and render the media used in the project. Preferably choose a drive alternate to your system drive and click OK. Your Final Cut Pro sequence should now appear in the Timeline ready to grade. In the following lessons, we'll look at how to perform basic grading tasks. But right now, let's jump to the final part of the process, the Return trip to Final Cut Pro.
Select the Render Queue tab and then click Add All to add all shots to the Render Queue. Click Start Render and then wait for the render process to complete. Progress bars indicate time to completion for each shot. When the render is complete, choose File > Send To > Final Cut Pro. A new sequence will be added to your existing project containing the newly color corrected sequence.
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