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When preparing footage for a colorist, the first priority is clarity in the source material. Begin by confirming your project scope, camera formats, and completion timeline with stakeholders. Then organize the media so every clip, reel, or sequence sits in a clearly named folder structure that mirrors the editorial plan. Preserve original camera files without altering their timestamps or metadata. Create a dedicated archival copy that is separate from any working drive to prevent accidental overwrites. Document any on-set color decisions, such as white balance targets and exposure notes, and attach these details to the project brief. A clean, documented intake minimizes backtracking during the color session and speeds up delivery by days.

Establish consistent color management early in the workflow. If you are working with log or RAW footage, ensure the color space and gamma are defined for every clip. Provide a summary that lists camera models, settings, and the intended target monitor profile. Include a LUT or base grade reference when appropriate, but avoid applying these permanently to the master media. Instead, create versioned proxy assets for initial reviews and a separate set of color-managed exports for dailies. This practice reduces guesswork for the colorist and ensures everyone is aligned on baseline expectations from the outset, promoting reliable outcomes across scenes.

The file naming convention should be precise, scalable, and shared with the entire team. Use a consistent pattern that encodes project, scene, take, and clip information. For example: PRJ_S01_SC01_TA01_001. If you can, automate naming through a script to eliminate human error. Maintain a log that tracks any renaming, re-synchronization, or re-timing steps so that the colorist can reconstruct the exact timeline later. Avoid spaces and unusual characters in filenames, and standardize extensions across software. A robust naming scheme provides a trustworthy map from the edit to the color session, reducing misinterpretation of footage.

Metadata is your invisible collaborator. Include descriptive notes in a central metadata file that travels with the media. Record camera make, model, lens, ISO, shutter, white balance, and any in-camera color decisions. Attach scene descriptions, shot numbers, and rehearsal notes if available. Ensure timecode integrity by confirming drop-frame settings and any reel alignment offsets. If you use multiple generations of proxies, label them clearly with generation identifiers and creation timestamps. Colorists rely on metadata to reproduce the creative intent, so thorough documentation becomes part of the deliverable.

Setting up stable proxies is essential for efficient review cycles. Generate proxies that faithfully represent dynamic range, contrast, and color without compressing critical details. Use a consistent resolution and bitrate that your colorist can interpret reliably. Name proxy files to mirror the master clips so you can quickly switch between reference and main footage during sessions. Maintain a separate folder for dailies and for review cuts, each with its own set of proxies. If colorist notes need to be tied to specific frames, ensure you provide frame-accurate reference marks within the proxies. Stable proxies reduce downtime and speed up the early grading iterations.

Prepare a clean, non-destructive edit timeline for the colorist. Export a timeline that preserves the editorial structure, transitions, and effects without embedding them into the raw media. Include only the necessary tracks and disable unnecessary layer effects that could confuse color decisions. Provide a read-only reference timeline, plus a separate export that contains the working editorial version with the color markers visible. Communicate any locked or pre-graded sections clearly so the colorist can plan their workflow around what remains to be solved. A precise timeline ensures the colorist is working with intent rather than improvisation.

Your project notes should read like a concise creative brief. Include the overall mood, scene-by-scene tonal targets, and any brand or client references that influence the look. Mention preferred color science approaches, such as cool vs. warm palette tendencies, skin tone priorities, or highlight handling. Flag scenes that demand stabilization, denoising, or texture preservation, and indicate any required consistency across shots. If there are safety margins or broadcast constraints, document those as non-negotiables. A well-crafted brief acts as a compass for the colorist, ensuring the grade adheres to the shared vision even when schedules tighten.

Establish a clear handoff checklist that both editors and colorists can follow. Include confirmation of media integrity, presence of all reels, and that all proxy files match their masters. Verify timecode alignment, reel naming consistency, and the existence of a backup archive. Note any calibration steps already performed, such as reference monitor verification or ambient lighting conditions in the grading suite. A reproducible handoff minimizes surprises and creates a reliable baseline for the colorist to build from, allowing more emphasis on artistry rather than logistics.

When it comes to color space decisions, keep the theory explicit. Define whether the deliverables require Rec. 709, P3, wider Rec. 2020, or a bespoke space for HDR workflows. State target gammas and any tone-mapping preferences early in the project so the colorist isn’t guessing. If you anticipate client-facing deliverables, communicate the expected output environment, including display devices and brightness ranges. Document a preferred approach to black levels, shadows, and highlight roll-off to avoid inconsistent retrieves from the grade. A precise color space brief helps the colorist map every input to a predictable, industry-standard result.

Build a modular, versioned export strategy that travels with the project. Deliver base grade references in a non-destructive, open format alongside a set of locked deliverables. Keep multiple generations of color-graded assets, such as “baseline,” “clientreview,” and “final,” clearly labeled with timestamps. Provide quick look-lists that summarize the grading decisions applied per scene, plus a separate export that includes trend notes for future revisions. By organizing exports incrementally, you support future adjustments without forcing a redo of the entire pipeline, saving time and maintaining consistency.

Reference monitoring conditions matter as much as the footage itself. Provide information about the grading suite's display characteristics, including luminance, color primaries, and ambient lighting. Note any hardware calibration steps performed ahead of the session, such as checker calibration or reference white points. If you use a particular monitor LUT, specify its intent and the version it corresponds to. The goal is to mirror the colorist’s working environment so judgments translate faithfully to the final product. When these environmental details are aligned, color decisions become more repeatable across different viewing contexts.

Finally, cultivate a culture of open communication and iteration. Encourage quick clarifications when something seems ambiguous, and schedule brief check-ins after initial grades to confirm direction. Respect the colorist’s process; give them room to interpret the material within the project’s constraints. Maintain a living document with decisions, exceptions, and evolving targets. A collaborative, well-documented workflow reduces revision cycles, preserves creative integrity, and yields a more consistent, publishable look across scenes and formats.