pre-conform
The first step in preparing your timeline for turnover is to flatten all of your cuts to the lowest amount of tracks possible. All of your original camera footage should be compressed to track V1 and any necessary optical effects can be put on subsequent tracks. remove all clips from any nested sequences that are in your prep timeline
Reconnect to the camera original media and ensure that all footage is in its original log color space. see instructions for r3d footage at the bottom of the page. if you are unsure about any settings, don’t hesitate to reach out with questions
ensure that all LUTs and other color effects are removed
Please double check that no proxy files are connected at any point in the timeline
Effects like warp stabilization, speed ramps and cut blending are ok, so long as they don’t affect the color of the ungraded image
Remove all text, titles and graphics from your prep timeline. If it is necessary to send these elements to the colorist for final delivery, please render a separate ProRes 4444 file of your titles with an included alpha channel
For clips with effects like cross dissolves or blend modes, place these clips at the end of the timeline with the necessary handles. these shots will be colored separately and the effects will be recreated in the online edit. please note these shots for your colorist
You can now render a ProRes 4444 XQ (or DNxHR 444 if necessary) export of your timeline along with an EDL
raw media
for r3d files, go into the source settings of your clips and change the settings as follows
image pipeline: ipp2
color space: redwidegamutrgb
gamma curve: redlog3g10
output tone map: none
all other settings such as color temperature, iso, etc. can be left as shot in camera
checklist of files for color delivery
prores 4444 XQ/dnxhr render of your prepped timeline
prepped edl
rendered titles and graphics with alpha channel (if necessary)
offline reference of edit
reference audio (may be married with rendered timeline)