Source media workflow

Original camera media and a prepared timeline, checked against the locked edit.

Use this workflow when source media is available. Agree whether to send whole files, a trimmed package or approved transcodes before consolidating.

Prepare the timeline

  • Duplicate the locked timeline and name the copy For Color. Keep the original edit unchanged.
  • Relink to full-resolution source media and confirm proxies are not being exported in its place.
  • Simplify tracks where this preserves the edit. Keep layered shots, split-screens and composites clearly identified.
  • Flatten multicam selections and unpack nests or compound clips where needed for the receiving application. Check the result against the reference.
  • Separate titles, graphics and subtitles from the grading timeline, and supply them for finishing where scoped. Keep them visible in the reference.
  • Identify transitions, stabilisation, plugins and other effects. Agree what transfers, what needs a rendered replacement, and what will be recreated after grading. Native effects are not a guarantee of compatibility.
  • Flag speed changes, freeze frames and optical-flow processing. Supply an approved render or adequate source duration where needed.
  • Use 25-frame handles at each end as a starting point when trimming is agreed. Transitions, retimes or edit changes may require more. Confirm exceptions before trimming.

Collect or consolidate media

Preserve camera filenames, metadata and folder structures. Test representative clips before processing a large package. Trimming support varies with codec and workflow.

DaVinci Resolve

Use Media Management on the intended timeline. Choose Copy to preserve the originals. If trimming is agreed and supported, select used media with the agreed handles. Reopen a copy linked to the new package and check every shot against the reference. Export the DRT from the verified timeline. Confirm Resolve version and any effect dependencies.

Premiere Pro

Use Project Manager on the intended sequence. Collect and Copy preserves source files; Consolidate and Transcode creates new media in an agreed format. Do not automatically transcode RAW or mixed camera sources to ProRes. Check the source-to-output color treatment first. Include agreed handles, exclude unused clips where appropriate, and reopen the resulting project before exporting XML. Dynamic Link compositions and effects may need separate renders or assets.

Final Cut Pro

Prepare a copy of the locked project and consolidate the required original media to the agreed location. Consolidation can copy whole source files, so check package size before transfer. Ensure originals are available rather than relying on proxies. Simplify compound clips and auditions where needed, then compare the result to the reference. Export FCPXML in a version compatible with the receiving application. Confirm whether to supply an FCPXML document or bundle.

Avid

Agree the AAF and media packaging settings with The Palette before exporting. Supply the locked reference and any rendered replacements needed for effects or retimes. Reopen the package and check it against the edit.

Verify the conform

Compare the prepared timeline to the locked reference across the whole edit. Check missing media, cuts, durations, transitions, retimes, framing and layered shots. Clip counts and spot checks support this review but do not replace it.

Handover checklist

  • Original media or the agreed consolidated/transcoded package
  • Verified DRT, XML, FCPXML or AAF
  • Locked reference with audio, matching record timecode and source identifiers where available
  • Timeline frame rate, resolution, start timecode and version
  • Camera/color information, LUTs and look references, with their intended use documented
  • Separate graphics, subtitles, audio and VFX required for finishing
  • Notes on effects, retimes, reframing and any unresolved differences

Transfer and timing

Use the transfer method and asset deadline agreed for your booking. Allow time for upload, download and conform checks. For large packages, confirm the transfer plan before exporting.

Keep your original media and a backup. If supplying a physical drive, confirm its connection and filesystem compatibility with The Palette. Do not reformat your only copy. ZIP packaging is only needed when requested.

Source media
workflow

Deliver original camera rushes plus a timeline file (XML/AAF/DRT). Maximum flexibility and control for grading and online. Recommended for most projects.

Late deliveries may result in session postponement or reduced grading time. If anything in this guide is unclear, reach out BEFORE exporting — not after.

Delivery method

  • Physical drive:

    ExFAT formatted, USB-C / USB 3.0 / Thunderbolt.

    Label clearly: DATE – CLIENT – PROJECT – TITLE

  • Digital upload:

    Create a ZIP of the project folder and upload via Google Drive.

  • Large volumes (150 GB+):

    Please GET IN TOUCH to arrange alternative transfer methods.

    (MASV / Strada)

Timeline preparation

*Native Davinci Resolve effects and transitions may remain. Everything else should be removed and flattened.

  1. Duplicate your timeline — rename to "For Color"

  2. Collapse to 1 video track

  3. De-nest all compound or multicam clips

  4. Flatten grouped clips

  5. Remove all empty audio and video tracks

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

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

  8. Trim clips to visible length only — include 3–5 frame handles if possible

  9. Retimes: From Resolve — keep as is. From other NLEs — pre-render as ProRes 4444 or include full shot duration

  10. Split-screens / PiP: Include original isolated clips at the end of the timeline, separated by a gap

Media consolidation

Consolidate so the grade receives only what's needed — no offline clips, no orphaned files, no proxy confusion.

    • File → Media Management

    • Select Timelines

    • Set mode to Copy— preserves originals on your drive

    • Point destination to a clean folder

    • Enable Used media and trim— set handles to 25 frames (3–5 minimum)

    • File → Project Manager

    • Select the sequence(s) to consolidate

    • Choose Consolidate and Transcode— format: Apple ProRes 4444

    • Set handles to 25 frames (3–5 minimum)

    • Tick Exclude Unused Clips

    • Uncheck Include Audio Conform Files— regenerated on open, adds dead weight

    • Uncheck Include Preview Files— NLE-specific, useless to the colourist

    • Open the new project and verify relinked paths before exporting XML

    • Create a new Library on your target drive, or use File → Copy Event to Library

    • Set library storage to External in Library Properties if media needs to live outside .fcpbundle

    • File → Consolidate Media — copies all referenced media into the library. Note: FCP consolidates whole source files, not trimmed clips — expect larger file sizes

    • Ensure Original or Optimised media is selected — not Proxy

    • Break apart all Compound Clips and Auditions — these don't survive FCPXML export cleanly

    • For AAF + separated audio: useX2Pro. For codec conversion: use Compressor or EditReady

General rules — all NLEs

  • Verify clip count in the consolidated project matches the original timeline

  • Spot-check a few clips to confirm full-res source — not proxy or offline

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

Export timeline file

  • DaVinci Resolve: Export DRT

  • Premiere / Final Cut Pro: Export XML

  • Avid: Export AAF

Before exporting, confirm:

Source media workflow — final checklist