How to Prep Your Timeline Before Sending to a Colorist (Without Wasting Time or Money)

Sending your timeline to a colorist without prep is like dropping off your car for paint... with the engine still running and a bike strapped to the roof.

Whether you're working in DaVinci Resolve, Premiere Pro, or Final Cut, prepping your timeline properly before sending it to a colorist saves time, avoids extra fees, and ensures a better final product.

In this post, we’ll walk you through the exact steps to get your timeline export-ready — and how to avoid the most common mistakes.

🧩 Why Prep Matters

Most colorists (including us) don’t want to untangle dozens of audio tracks, unused clips, or layered effects. The more organized your project is, the faster and cheaper the turnaround.

Think of your prep as handing off a baton — the cleaner the pass, the smoother the race.

✅ How to Prep Your Timeline for a Colorist: Step-by-Step Guide

1. Flatten Your Timeline (or Prepare an XML/AAF)

If you’re not color grading within the same software, you’ll likely be asked for an:

• XML (Final Cut or Premiere)

• AAF (Avid)

Or you may be asked to flatten your timeline (export a single, ungraded ProRes 422 HQ master).

🎯 Pro Tip: If your edit includes speed changes, image scaling, or plug-ins — mention that in your notes.

2. Remove All Unused Footage and Audio Tracks

Trim the fat. That means:

• Delete muted or empty tracks

• Remove adjustment layers, effects, or transitions that won’t translate to color

You don’t want to pay someone to troubleshoot an effect they don’t need to see.

3. Consolidate Media and Relink

Use your editing software’s media management tools to:

• Copy only used media to a new folder or drive

• Make sure all files relink properly

Missing clips = delay in delivery.

4. Include a Reference Video

Export a low-res H.264 reference with timecode burned in and audio sync.

This is crucial for checking sync, framing, and shot order once the colorist relinks your project.

5. Double Check Frame Rate & Resolution

Make sure your final settings match the delivery requirements:

• Frame rate (23.976, 25, 29.97)

• Resolution (4K, 1080p)

• Color space (usually Rec.709 unless specified)

Mistakes here can derail the entire session.

6. Label Everything Clearly

Name your files like a professional:

• “ProjectName_Timeline_4K_ProRes.mov”

• “ProjectName_Ref_TC.mp4”

• “ProjectName_XML.xml”

Sloppy naming = wasted time.

🎬 Final Checks Before Delivery

• ✅ Color space noted (Rec.709 or other)

• ✅ All clips relinked

• ✅ No LUTs or temp color applied (unless specified)

• ✅ Audio muted or stems excluded (unless requested)

💬 A Quick Word on Communication

The best color sessions come from clear, upfront communication. If you’re unsure whether to bake in subtitles, send individual shots, or include a LUT — ask your colorist.

At Testament Productions, we provide a prep checklist for every project, and we’re happy to guide you through the delivery process.

Once your timeline is cleaned and tracks are labeled, you’ll be ready for color grading — but first check out Delivering HDR vs SDR: What You Need to Know Before Export

If you're delivering to a theater, use this guide: DCP for theatrical delivery.

🎯 Final Thoughts

Proper prep saves you time, money, and revisions. Whether you're sending to a boutique colorist or prepping for Netflix QC, these steps will make your post-production process smoother and more professional.

📩 Ready to deliver your film to a colorist? Get a Quote and we’ll walk you through exactly what we need — no guesswork.