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A color’s brightness, then, can be represented by its distance from the base to the peak of the cone. Color actually provides a three-dimensional video scope that’s capable of displaying the colors of an image within an extruded HSL space, for purposes of image analysis. For more information, see The 3D Scope. 34 Chapter 1 Color Correction Basics Color Correction Workflows 2 Taking maximum advantage of Color requires careful workflow management. This chapter outlines where Color fits into your post-production workflow.

Importing and Notching Preedited Program Masters Another common way of obtaining a program for color correction is to be provided with an edited master, either on tape or as a QuickTime movie or image sequence, and an accompanying EDL. You can use the EDL to automatically add edits to the master media file in Color (called "notching" the media), to make it easier to grade each shot in the program individually. 48 Chapter 2 Color Correction Workflows Important: The EDL import capabilities of Color are not as thorough as those in Final Cut Pro, and are limited only to shots on track V1.

Video Finishing Workflows Using Final Cut Pro If a program has been edited using Final Cut Pro, the process of moving it into Color is fairly straightforward. After editing the program in Final Cut Pro, you must reconform the program, if necessary, to use the original source media at its highest available quality. Chapter 2 Color Correction Workflows 39 Once that task has been accomplished, you can send the project data and files into Color for color correction. Upon completion of the color correction pass, you need to render the result and send the project back to Final Cut Pro for final output, either to tape or as a QuickTime file.

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