I normally put the Alexa LUT on an adjustment layer and do all my VFX under that. That way I know what I'm adding is going to look balanced with the shot when the look is applied. Before rendering I turn off the adjustment layer and render to ProRes 4444. The colorist here is using resolve so he can grade the shot from the same point that every other shot starts at. All of my work should travel correctly with it. I often deliver mattes to the colorist as well to allow them greater control over grading the VFX. I always keep the AE file in 16bits as a minimum and often work in 32bit linear.

On Mon, Nov 26, 2012 at 5:11 PM, Erik Hansen <eahansen@gmail.com> wrote:

Unfortunately, it depends on the rest of your pipeline/workflow. Are you just delivering the sources back to editorial/online for them to color correct?

In this specific situation, I would convert the Rec709 to log (or better yet convert to LogC) and work with it from there - viewing LUT, etc...

Erik

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On Mon, Nov 26, 2012 at 9:54 AM, Teddy Gage <teddygage@gmail.com> wrote:

Awesome man, thanks. I did a ton of research last night but the metadata info is great. I've more or less figured out a good workflow, with a few things still bugging me. Looks like they shot most of the background plates for in-car greenscreen using the canon c300, and the colors don't match, so the composite looks off. What kind of workflow is needed for mixed footage comps like this? (ie mix of log and r709 footage?)