I am trying to provide appropriately prepared files for my colorist and have some questions about workflow.
I am editing in PremierePro CC and have a project combining three different cameras/frame sizes and two different frame rates. In Premiere, I've interpreted the C300 MXF footage running at 59.94 to run at 23.98 in order to use it in slow motion in my 23.98 timeline. When I export an xml for the colorist to match back to the raw files, the time code of the slow motion clips is incorrect. The project is 'doc' style, so the source files are very long.
What is the best way to provide my colorist with accurate numbers? Should I just do the math and figure out the offset for each file? Is there any loss of latitude if I export the edited clip from my Premiere Pro sequence? Is there a way to natively edit the raw MXF file so the colorist doesn't have to wade through it to try to eye match the clip? Should I be prepping a separate 59.94 selects sequence for them so that they can give it back to me at 59.94 and I 're' interpret the frame rate again in Premiere rather than trying to do the math to figure out how to match the speed change in Resolve?
I'm not trying to reinvent the wheel here so any suggestions would be highly appreciated.