Jason R Moffat - Colour Grading

Supply guidelines

What you need to supply me for a smooth workflow

Depending on your system the best formats are as follows:
Single flattened online resolution file + EDL
Online footage + EDL
Online footage + FCP XML
Online footage + Avid AAF export
Image Sequence + EDL

Dissolves, Still Images and Timeline Effects
For the most part all your timeline effects, especially those which are dependent on chroma or luma values should be flattened down before sending for grading or left for the grade pass if appropriate.

Dissolves are generally fine either way, but if there are many of them and long in duration, it makes sense to supply the original footage plus an EDL, XML or AAF export file, as apposed to one single file.

Still images, if based on a sequence clip, should be referenced to the clip rather than an image format, or as an image sequence or QuickTime for the duration of the cut, this minimises the risk of a colour shift in the files you supply to me.

SD/HD/2K/4K resolutions

Incoming Formats:
Although I generally recommend uncompressed formats or DPX image sequences, I also accept Apple, Cross Platform and Avid based codecs including, RED Raw, ARRI Raw, ProRes, XDCam Cineform/NeoHD, DVCPRO etc, as well as DSLR formats.

All VFX should be processed as DPX in and out of your compositing environment to ensure gamma and colour consistency, this will also allow for parallel collaborative workflows -  this basically means VFX can be done while you grade and replaced as they are available.

Outgoing Formats:
DPX image sequence,10-bit uncompressed or ProRes HQ, but am happy to discuss alternative formats to suit your workflow.

Although I don't offer it as a core service, the system here is perfect for the task should you need it.


© 2019, Jason R Moffat
London, United Kingdom
Telephone: +44 7961 108 962 or +44 (0) 20 7978 7575  | E-mail: enquire@jasonrmoffat.com