How to Prepare for a colour grade.
So you have shot and edited your project and you are finally ready to get it colour graded…But you're not sure how it all works.
I understand, nobody has taught you what to do. This blog post will look at the best way to prepare your project for colour grading and the options that you have to ensure that you get the best results.
Source Media Workflow
This is essentially a way of handing over your project file and original source media to the colourist to ensure the highest possible quality and flexibility. It also requires the most work on your part in getting things ready, here is a suggested checklist:
Duplicate your locked timeline sequence and give it a descriptive suffix such as “_forColour”.
Remove graphics and any other elements not requiring colour mastering or disable them in the timeline.
Collapse clips and edits down into as few video tracks as possible - you should generally only
need 1-2. After you have completed this process, there should be no clips or clip handles left in
the sequence that are not seen on-screen when viewing the locked cut.
Join any through edits, unless being used to divide speed changes or reframes.
Ensure any and all Multicam clips are flattened, and any compound or nested sequences are
replaced with their source clips.
Replace any proxies or transcoded clips with original source clips.
Delete all empty Video tracks.
Copy or manage all source media to a backup drive. Place into a root level folder labelled
“FOOTAGE”.
Export an XML, AAF, DRA, DRT or DRP of the sequence. Place into a root level folder labelled
“XML”.
Export a native resolution Prores LT or DNxHD Quicktime of the sequence and place it into a
root level folder labelled “REF”. Please include a data burn in for source and record timecode
and Filename in this Quicktime.
An audio mixdown is appreciated but not essential for the colour grade. If you wish to supply
this, place the mixdown into root level folder labelled “AUDIO”.
Following your session you will receive a new XML, AAF, DRT or DRP and graded renders of each
source clip with handles (24 frames unless otherwise specified). You will need to import the XML,
AAF, DRT or DRP into your Non linear editing system and rebuild the edit at your end for Online
editing.
Flat Quicktime Media Workflow
If the above all feels a little too complicated or if you are working on a smaller project that doesn’t need to be at the highest quality for viewing you could send a flat quicktime file. Here is the checklist for this:
Duplicate your locked sequence and give it a descriptive suffix such as “_forColour”.
Ensure sequence resolution matches your final delivery resolution.
Ensure all clips completely fill the frame and have no pillarboxing or letterboxing.
Ensure your sequence has no dissolves or other transitions.
Finalise any repos or zooms, as these will be “baked in” to your graded deliverable.
Remove graphics and any other elements not requiring colour mastering.
Remove all filters and LUT’s.
Replace any proxies or transcoded clips with original source clips.
Export a native resolution Prores 4444 XQ Quicktime of the sequence and place it into a root
level folder labelled “SOURCE”.
An audio mixdown is appreciated but not essential for the colour grade. If you wish to supply
this, place the mixdown into root level folder labelled “AUDIO”.
Following your session you will receive a ProRes or DNX Quicktime matching the resolution of the
provided source Quicktime.
Please be aware of the following limitations of this workflow:
• Dissolves or other transitions in your timeline cannot be accommodated.
• Clip handles cannot be provided when using this workflow.
• Resolution of the final graded render will be limited to that of the provided flat Quicktime,
regardless of the original source resolution.
• Any layered/composited elements will be graded as a single flat element.
Consult your colourist
If you are still in any doubt please do contact your colourist who will be happy to advise you on the best ways to get your project to them.