Apple Color 1.0 User Manual download pdf (Page 100)

100 Chapter 5 Setup

Â QuickTime Export Codecs pop-up menu: If QuickTime is selected in the Render File

Type pop-up menu, this menu lets you choose the codec with which to render

media out of your project. If this menu is set to Original Format, the export codec will

automatically match the codec specified in the sequence settings of the originating

Final Cut Pro sequence (this option is only available when using the “Send to Color”

command, or when importing an exported Final Cut Pro XML file).

The QuickTime Export codec does not need to match the codec used by the source

media. You can use this to upconvert your media to a minimally compressed or

uncompressed format. The options in this pop-up menu are limited to the QuickTime

codecs which are currently supported for rendering media out of Color.

Broadcast Safe Settings

These settings let you set up Color to limit the minimum and maximum luma, chroma,

and composite values of shots in your program. These settings are all completely

customizable to accommodate any quality control (QC) standard, and prevent QC

violations.

Â Broadcast Safe button: Turning on Broadcast Safe enables broadcast legalization for

the entire project, affecting both how it’s displayed on your secondary display and

broadcast monitor and how it’s rendered for final output. This button turns the

following settings on and off:

Â Ceiling IRE: Specifies the maximum luma that’s allowable, in analog IRE units.

Signals with luma above this limit will be limited to match this maximum value.

Â Floor IRE: Specifies the minimum luma that’s allowable, in analog IRE units. Signals

with luma below this limit will be limited to match this maximum value.

Â Amplitude: This is not a limiting function. Instead, it lets you apply an adjustment

to the amplitude of the chroma. The default value of 0 results in no change.

What QuickTime Codec Should You Use for Export?

You can render your project out of Color using one of several high-quality mastering

codecs, regardless of the codec or level of compression that is used by the source

media. You can use the QuickTime Export Codecs pop-up menu to facilitate a

workflow where you import compressed media into Color, and then export the

corrected output as uncompressed media before sending your project to

Final Cut Pro. This way, you reap the benefits of saving hard drive space and avoiding

rerendering times up front, while preserving all the quality of your high-bit-depth

adjustments when you render your output media prior to sending your project back

to Final Cut Pro.

The codecs most suitable for mastering include Apple Uncompressed 8-bit 4:2:2,

Apple Uncompressed 10-bit 4:2:2, Apple ProRes 422, and Apple ProRes 422 (HQ)

codecs. For more information, see “Compatible QuickTime Codecs for Output” on

page 86.

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Apple Color 1.0 User Manual Page 100