I explain the options and consequences, and together we find the right balance. Like everything else that we do in the film and video industry, it is a balancing game between desire for the best possible project and the reality of time and budget. There will be some compromises that have to be made, but the end result will be faster to reach and the budget can be significantly lower. In most cases the results aren’t going to be as good. There is an alternative approach- I slice up your existing best output master file into individual shots, and then color grade each of these, instead of the original camera footage.
In an indie film world, or for a corporate program, time and budget are always the enemy.
This is the “right way” and gives fabulous results every time, but it is slow, and so expensive – exactly how expensive and slow depends on the type of faults that have to be corrected and how often they occur, but think in terms of several weeks to get the finished and mastered production back, and a matching budget. As a color grader and colorist I can do the job two ways – in an ideal world I go right back to the original camera footage and rebuild the project timeline, and then correct it shot by shot at the highest possible resolution.
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