Method 1 — Preferred

1. Create a New Folder on Your Computer

Use this folder to collect all materials required for the project turnover to the colorist.

2. Duplicate the Sequence You Will Deliver for Color Grading

3. Prepare the Sequence

• Where possible, arrange all used clips on the lower video tracks, such as V1 and V2.
• Break apart split-screen layouts into separate full-frame clips.
• Without changing the duration of the sequence, remove:

  — Titles and subtitles

  — Effects that affect the image color or appearance, including Lumetri Color, blur effects, and MOGRT graphics

  — Adjustment Layers

  — Blend Modes

  — Masks

  — Cross Dissolve, Dip to Black, and Dip to White transitions

  — Overlays

  — Crop effects

• You may keep:

  — Audio

  — Effects that do not affect image color, including Warp Stabilizer and Twixtor

  — Horizontal Flip and Vertical Flip

  — Morph transitions

  — Scale, Position, Opacity, and Rotation settings, provided that the image continues to fill the entire frame. Otherwise, reset these settings.

  — Scale, Position, Opacity, and Rotation animation, provided that the image continues to fill the entire frame. Otherwise, reset the animation.

  — Speed ramps

  — Speed/Duration changes

  — Reverse Speed

  — Multicam sequences, but only after they have been flattened

If the project contains many transitions that require handles or makes extensive use of Blend Modes, also export an Offline Reference.

The Offline Reference must show the same prepared sequence that will be delivered for color grading. The colorist will use it to verify that the edit and media have been transferred correctly.

Create an Adjustment Layer and apply the Metadata and Timecode Burn-in effect. Include:

— File Name

— Sequence Timecode

— Source Timecode

Export the Offline Reference using the following settings:

Format	QuickTime
Video Codec	H264 / H265
Frame Rate	Same as Sequence

IMPORTANT: After exporting the Offline Reference, remove the Adjustment Layer containing the metadata and timecode burn-ins from the sequence.

4. Reconnect the Clips to the Original Source Media If Proxies Were Used

If the proxy files were attached through Premiere Pro’s built-in proxy workflow, select the relevant clips and choose:

Proxy → Reconnect Full Resolution Media

If the sequence is linked directly to proxy files, select the clips and choose:

Make Offline…

Then select:

Link Media

Reconnect the clips to the original full-resolution source media — not the proxy files.

5. Make Sure the Footage Remains in Its Original Log Color Space

Disable all color and contrast adjustments, including Lumetri Color.

Return the footage to its original camera color space and Log encoding.

For .R3D media, set the RAW decode to:

IPP2 / REDWideGamutRGB / Log3G10

For .braw media, set the RAW decode to:

DaVinci Wide Gamut / DaVinci Intermediate

For .crm media, set the RAW decode to:

Cinema Gamut / Canon Log 2

6. Export a QuickTime File

Export the complete sequence as an Apple ProRes 4444 QuickTime file.

Enable:

• Render at Maximum Depth
• 16-bpc
• Use Maximum Render Quality

For the export setup shown below, the Rec.709 value displayed under Export Color Space is used as the file color-space tag. The exported QuickTime should preserve the original camera Log encoding. Before export, verify that no display transform, creative LUT, or color correction is being applied to the sequence.

After export, verify that the file remains Log before delivering it.

7. Export an EDL

Export a CMX 3600 EDL.

Disable audio and leave all optional checkboxes unchecked.

8. Upload the Prepared Folder to Our FTP Server

The folder should contain:

• QuickTime Apple ProRes 4444
• EDL
• Offline Reference, if created

We recommend using FileZilla for file transfers. It provides fast and stable uploads and can automatically resume interrupted transfers.

After launching FileZilla, enter the following information in the bar at the top of the application:

• Host
• Username
• Password
• Port

To receive your access details, contact us via ✈️ Telegram or 📩 email.

Upload all materials intended for color grading to:

To_CC — To Color Correction

After color grading is complete, the final deliverables will be available in:

From_CC — From Color Correction

When direct server transfer is not available, you may use Google Drive, Dropbox, WeTransfer, MyAirBridge, Yandex Disk, or another cloud storage or file-transfer service.

How can I transfer more than 50 GB using cloud storage?

When the files exceed the upload limits of the selected service, add them to an archive and split the archive into several smaller parts.

If the post-production supervisor or post-production producer decides that the final master will be assembled by the colorist, please also provide the final audio mix and final titles, and discuss how any editorial effects should be rebuilt.

You may also send the project on a physical hard drive by courier:

Serbia, 26101, Pančevo, ul. Oslobođenja, 23, stan 44

Nikolai Viktorov

+381 67 7244 136