How do I prepare an edit for colour grading?
Short Answer:
Lock the picture first, then hand the colourist a clean, well-organised timeline: consolidated and clearly named clips, effects and speed changes flattened or clearly flagged, the camera's colour profile documented, and reference stills or a look guide for the intended style. Good preparation lets the colourist focus on the look rather than untangling the project.
Our Experience
Getting the grade right starts with how we shoot and brief the edit. On one project, post-production took a similar length of time to the shoot itself, split across editing, grade, and finishing — which is typical when the look matters.
Director Quotes
On one project, the director noted how post-production time compared with the shoot — a reminder to budget the grade and finishing properly, not squeeze them:
"Shoot was roughly a week and post was similar, I think several days in total."
— Joey, Director, Kelham Productions
Overview
Colour grading goes faster and looks better when the edit is prepared properly. Preparation is really an organisation task — giving the colourist a tidy, unambiguous timeline and a clear brief for the look you want.
Detailed Explanation
Preparing an edit for the grade
Lock the picture: grade only after the edit is final, so no shots change.
Organise the timeline: consolidate media, name clips clearly, and remove unused layers.
Flatten or flag effects: make speed ramps, reframes, and effects obvious so they are not lost.
Document colour science: note the camera and colour profile (for example, a log or manufacturer profile) so the colourist starts from the right base.
Provide references: stills, a moodboard, or a look guide communicate the intended style.
Getting this right actually starts on the shoot: filming with a consistent, grade-friendly profile and briefing the edit with the final look in mind makes the grade far smoother.
Example
Handing over a locked timeline with clearly named clips, flattened effects, a note that footage was shot in a log profile, and three reference stills for the mood lets a colourist begin styling immediately, rather than spending hours reconstructing the project.