Why are my clips locked in Color?

Hi everybody,
I just sent my sequence to color and all my clips are locked and I receive a warning message when I want to unlock them.
That never happened before.
What could be the cause?

Problem solved

Please post HOW you solved your problem. It may help someone else someday

Thanks.

When life gives you dilemmas...make dilemmanade.

Okay,
first of all, the clips in Color HAVE to stay locked, otherwise you're going to have problems when you send them back to FCP.
My problem was that I had tracks on top of the track I wanted to color correct.
Those clips were created with Livetype and made the clips I wanted to work on not accessible.
So I just deleted the tracks I didn't need to work on and suddenly the clips I needed to see appeared in the viewer.
I kept them locked of course.

Next time, stick to ONE LAYER of video. Livetype titles shouldn't be sent to COLOR anyway.


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While we're on the subject ? I like Color. I like Color a lot. I'm not a professional, or even very skilled amateur, colorist, but I really love Color.

Except I haven't figured out how the workflow is really supposed to work yet.

Lately I've been using Colorista a lot for quick, single-shot corrections. Anything that requires extensive correction, or power windows, or applying a look to a whole set of shots, I do that in Color. But for quick-and-dirty corrections, I love me some Colorista. (Especially the fact that you get the After Effects plug-in and the Final Cut plug-in for one price.)

>Livetype titles shouldn't be sent to COLOR anyway.

Yes to that, also stills, freeze frames, speed ramps, mixed format footage (Color likes 1 codec, and usually you can only render out natively if you work in one codec, or you have to choose between Uncompressed or ProRes).

One tip. Not sure if it's just the work machine I'm on which isn't the fastest these days (a dual G5 with 2 GBs of RAM). Sending back a graded sequence of about 12-15 mins to FCP took quite a while, and I ended up force quitting FCP. My workaround is to send that to a new FCP project, then I copy the sequence over to the editing project.



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Colorista is great, I agree. It's better and faster than the 3 way color corrector in FCP and it's worth the money. For regular narrative material it's mostly all you need.
Color on the other side is still mindblowing - you can do so much.
But I do hope they will make it more intuitive in the next version. I noticed that if I don't work with it for a while I always forget how things work and have to re-learn them.