![]() ![]() It’s worth noting that Premiere Pro can export to a Final Cut Pro XML, which contains more information (retiming, cropping, etc.) than a simple EDL file. Side-by-side comparison of XML and EDL exports. But because there’s no single format or standard for these XML files, they can be subject to compatibility issues. These days EDL files have been replaced with XML-based files which include more information. Historically, editors have chosen EDL files when simplicity and cross-compatibility were a concern, mainly because there was no alternative. Unfortunately, EDL is a limited format that only includes the in/out points of a clip on a timeline. Why not EDL or XML?Ī popular industry standard has been to export each flattened timeline as an EDL file (Edit Decision List), which is a simple text file that contains the timecode and clips information. It’s worth noting that you can either directly consolidate onto an external drive if you’re getting it to your colorist by courier, or you can consolidate to a cloud storage folder to share later with the colorist.īut before you sent it out, I’d recommend that you test the consolidated project by opening it and checking that everything is still working properly. Using Premiere Pro’s Project Manager to consolidate your assets ensures that nothing gets lost in transit. “Collect Files and Copy to New Location”: Check.“Rename Media Files to Match Clip Names”: Uncheck.Check the sequences (timelines) you want to export for coloring.Open the Project Manager in Premiere (File > Project Manager).Now consolidate your projectĬonsolidating your project simply means that you’re removing any unused assets from the timeline, and can be achieved using Premiere Pro’s Project Manager tool.Īs well as making sure that all the files your colorist needs are now conveniently located in a single location, this will also reduce the bandwidth and time for uploads and transfers.Īnother significant benefit of consolidation is that it brings all the footage used in the project (which may be spread across multiple drives and locations) into one folder. It might not work for everyone, but using the same software for VFX/compositing and coloring can cut down on round trips, and reduce the time required for changes. So talk to your colorist about what would be best for the project/clips that require VFX or compositing. In a properly prepared project, your colorist, VFX artists, sound designer, and editor can work together in the same timeline. 709 color space and gamma, but projects shot in RAW can be color graded using a variety of color spaces and gammas that will depend on the final desired look. ![]() The best way to establish this is to ask the VFX artist and colorist which color space they need.Īs a guide, smaller projects that are not shot in a RAW format will generally be in a Rec. Any shot that is going through VFX/compositing should be exported in a color space and gamut suitable for coloring. These should be done prior to color grading to allow the colorist to match all the clips. Note on VFXīefore we move to the next step, I’d like to talk about VFX and compositing. It’s also good practice to keep media bins inside your Premiere project neatly organized and clearly named. In case of a ramp, I would suggest asking the colorist to grade the full clip and re-apply the speed ramp post-coloring. If it’s unavoidable, try to use constant (linear) retiming and not variable retiming like ramps. ![]() ![]() Retiming introduces a higher risk of timing and sync issues, so it’s something to avoid if possible, as it requires coloring the retimed clip(s) separately. So here’s how to prep your Premiere Pro project in a way that will make colorists want to work with you more than once. By properly anticipating the needs of the colorist you can save them a considerable amount of time and stress, as well as reducing the overall project cost. This is stressful when the client is expecting you to color grade and instead you’re wasting time trying to get things to import properly.Īs a colorist, there’s a lot to keep on top of, from color spaces to LUTs, screen types and scopes. Building your reputation as an editor who makes things easier for the colorist will help to build stronger relationships that can only benefit your career.ĭuring my own career, I’ve worked on a number of projects that took longer to reconcile properly in the coloring software than to actually color the project. Just like editors, colorists have different sets of rules and requirements, but they all want the same thing as the rest of us – a simpler life. ![]()
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