GRADE PREP GUIDE

This guide will help you prepare your edit for color grading inside your NLE. This ensures a smooth and efficient handover for grading at The Palette Post.

Please go through this guide carefully to ensure nothing is missed during handover.

Please deliver all materials at least 24 hours before your scheduled session.

Late deliveries may lead to session postponement or reduced grading time.

📁 GENERAL PREPARATION

Before sending your files, make sure your project is well-organized and ready for the conform process.

If Delivering via Physical Drive:

  • Duplicate your timeline to preserve the original edit.

  • Export your project file (e.g., .drp, .prproj, .aep, .avp) for any last-minute adjustments.

  • Use a Mac/PC-compatible drive (ExFAT) with USB-C, USB 3.0, or Thunderbolt 3 connection.

  • Clearly label your drive:

    DATE - CLIENT - PROJECT - TITLE

If Delivering Digitally:

  • ZIP your main project folder before uploading.

  • Upload via your preferred FTP service. (Frame.io guest access available upon request.)

  • For transfers larger than 150 GB, contact us to arrange an alternative method.

CHOOSING YOUR WORKFLOW

  • Source Media Workflow

    Maximum flexibility and control for grading

    HERE

  • PRORES WORKFLOW

    Single high-quality master file for streamlined sessions

    HERE

source media workflow

Timeline Preparation

(Native Resolve effects and transitions may remain; everything else should be removed and flattened)

  • Duplicate your timeline (rename to "For Color").

  • Collapse to 1 video track.

  • De-nest all compound or multicam clips.

  • Flatten grouped clips if applicable.

  • Remove all empty audio/video tracks.

  • Remove all graphics, subtitles, supers, transitions, and external effects.

  • Replace proxies with original source media (RAW, ProRes, DNxHR, etc.).

  • Trim clips to only what's visible in the final edit. Include handles (3–5 frames) if possible.

  • Retimes:

    • From Resolve: keep as is.

    • From other NLEs: pre-render those shots as ProRes 4444, or include full shot duration.

  • Split-screens / Picture-in-Picture: Include original isolated clips at the end of the timeline, separated by a small gap.

Media Management & Consolidation

Once your timeline is prepped, consolidate the media so the colorist receives only what's needed — no offline clips, no orphaned files, no proxy confusion.

DaVinci Resolve

  1. File → Media Management.

  2. Select Timelines.

  3. Set mode to Copy (preserves originals on your drive).

  4. Point the destination to a clean folder.

  5. Select the timeline(s) to consolidate.

  6. Enable Used media and trim and set handles (25 frames recommended; 3–5 minimum).

Premiere Pro

  1. File → Project Manager.

  2. Select the sequence(s) to consolidate.

  3. Choose Collect Files and Copy to New Location.

  4. Set handles (25 frames recommended; 3–5 minimum).

  5. Tick Exclude Unused Clips.

  6. Uncheck Include Audio Conform Files — these are regenerated on open and add dead weight.

  7. Uncheck Include Preview Files — preview renders are NLE-specific and useless to the colorist.

  8. If source media is mixed codec (e.g. H.264 proxies alongside ProRes), choose Consolidate and Transcode and convert to a single intermediate codec (ProRes 4444, 422 HQ or DNxHR).

  9. Project Manager rewrites the .prproj with relinked paths to the consolidated media — open the new project and verify before exporting XML.

Final Cut Pro

  1. Create a new Library on your target drive, or use File → Copy Event to Library to move the event across.

  2. Set that library's storage location to External in the Library Properties inspector if you need media outside the .fcpbundle.

  3. File → Consolidate [item] Media — this copies all referenced media into the current library storage location. Note: FCP consolidates whole source files, not trimmed clips. There is no native trim-to-handles option, so expect larger file sizes than Resolve or Premiere.

  4. Ensure Optimized or Original media is selected — not Proxy.

  5. Break apart any remaining Compound Clips and Auditions before export — these do not survive FCPXML export cleanly.

  6. For AAF + separated audio, use X2Pro. For codec conversion, use Compressor or EditReady on individual clip ranges.

General Rules

  • Always verify clip count in the consolidated project matches the original timeline.

  • Spot-check a few clips to confirm they are full-res source (not proxy or offline).

  • If any clips show as offline after consolidation, relink manually before exporting.

Exporting XML / AAF / DRT

  • Premiere / FCP: Export XML.

  • Avid: Export AAF.

  • DaVinci Resolve: Export DRT.

Before exporting, ensure:

  • All clips are correctly framed (no letterboxing/pillarboxing).

  • Tracks are flattened and simplified.

Deliverables Checklist

  • ✅ Original Camera Rushes (RAW, ProRes, DNxHR, etc.)

  • ✅ XML / AAF / DRT of final edit

  • ✅ Reference File (H.264 or ProRes Proxy) with source file names and timecode burn-in

  • ✅ Any LUTs, reference stills, or look references

prores workflow

Timeline preparation

(For when delivering a flattened master file rather than rushes.)

  • Duplicate timeline (rename to “For Color”).

  • Flatten to 1 video track.

  • De-nest all compound or multicam clips.

  • Remove all empty tracks, transitions, graphics, subtitles, supers, and effects.

  • Replace proxies with original media.

  • Trim clips to visible length only (include handles if possible).

  • Ensure picture remains in LOG — remove all LUTs, Lumetri, or color effects.

  • For transitions or dissolves: provide either the A/B clips separately or include full transition length within the edit.

  • Maintain final sizing and speed changes.

Exporting Master File

Format: Apple ProRes 4444 (XQ preferred) or Avid DNxHR 444 12-bit (when ProRes isn’t available).

  • Match the project’s final resolution and frame rate.

  • Use highest render quality.

  • Picture must be clean LOG (no grade or LUTs).

  • Audio embedded (temp or full mix) for sync check.

Additionally provide:

  • A separate Reference File (ProRes 422 Proxy / H.264) with graphics, titles, and full mix.

  • An EDL of the timeline matching record timecode.

  • A Stereo 48 kHz 16-bit WAV file of the final mix.

  • Optional: one trimmed raw rushes clip for QC comparison.

  • Any lookbooks, stills, or style guides (if available).

Deliverables Checklist

  • ✅ Clean Master File (ProRes 4444 12-bit QX / DNxHQX 10-bit, LOG image, no LUTs)

  • ✅ Reference File (ProRes 422 Proxy / H.264 with graphics and audio)

  • ✅ EDL matching record timecode

  • ✅ Stereo 48 kHz 16-bit WAV audio file

  • ✅ Any LUTs, reference stills, or style guides

  • ✅ Optional: trimmed rushes clip for QC

If your project includes VFX or CGI renders, please follow these guidelines:

Preferred Delivery Format

  • EXR image sequences (DWAA compression) — maintains fidelity and manageable size.

  • ProRes 4444 accepted, but EXR preferred.

What to Include

  • EXR sequences (DWAA)

  • EDL / XML / AAF of final timeline

  • Colour space information (ACEScg / Linear / sRGB etc.)

  • Offline reference with source names + timecode

  • Stereo 48 kHz 16-bit WAV audio file

  • Individual LUMA mattes (avoid Cryptomattes)

  • Clearly named folders and sequences

Prep Time

EXR sequences are large — please allow extra time for upload and delivery (minimum 24 h before session).

CGI / VFX grade prep

FOLDER STRUCTURE

📁 DATE - CLIENT - PROJECT - TITLE

📁 EDL / AAF / XML

📁 FROM VFX

📁 OFFLINE REF

📁 AUDIO

📁 RUSHES (ProRes or OCF)

📁 OTHERS

📩 QUESTIONS?

For any clarifications or special workflows, reach out to us via the form.

Looking forward to grading your project and bringing your vision to life 🎨