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What is the professional workflow from editor to colorist to sfx?
I have done a few short films but each time I have done all the effects and color myself. With the possibility that a project comes along where I get to focus on just the edit, I’m wondering how a project gets color correction/grading if there are effects/compositing that need to be done? In particular, I’m addressing the idea that raw/log footage is sent to the colorist so they have the best files to work from. If effects are done beforehand, the footage is no longer in a raw format. Or, do you get everything graded first and work from that? I would be thrilled to get an idea of how this is best addressed and if any colorists would like to give guidelines on how they like to receive a project, even more so! Or, simple point me to any resources for this info. I did a search but didn’t find clear answers here or on YouTube.
replied 1 month ago 2 Members · 1 Reply
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1 Reply
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Hey Ben,
these are my two cents from a colourist perspective:– First, establish a colour pipeline with the colourist. With VFX, the best bet is ACES. This way the colourist can work in log and you can work in linear for VFX.
– No need for RAWs. You can work on Prores4444 XQ files and those will have all the information you and the colourist need.
– Ideally, have the colourist (or a Dailies colourist or a DIT) prepare dailies, at least for the VFX shots. This way, you can import the RAW or transcoded shot along with a ShowLUT and a CDL, load them in your compositing software and generate the VFX on a shot that is 90% graded already. Make sure to work beneath those. Once the VFX and compositing are done, simply turn off the CDL and ShowLUT before exporting. The VFX will be already properly composited but will get exported in ACES as well so that the colourist can grade on top of it.
With such a pipeline you should be sound!
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