Let me see if I got it.
I can't picture what is the gain on that workflow.
Everybody has a different workflow in this brave, or should I see scary new world of convergence.
Once you break it all down, the ol' ways probably are the best. 1. Work in proxies (one lights) from one or multiple cameras, edit for story, title for effect, then once to finish go outside (whether really outside like a 3rd party colorists) or outside by switching computer suites while changing from your editor to colorist hat . . . something similar to the way it's always been done.
From artists the come from a stills background where photoshop is pretty much the tool of choice for finish out, stepping into the motion world where finish out is a long list of operating systems, accelerators cards, original file format, delivery format, etc, stills are easy by comparison
Imagine a Phase or Canon file that can only be seen on a peecee, or only work at real time speed if you bought a Canon Rocket card for your computer that costs $5,000. People would scream.
Anyway, whatever any of us say our workflow is today, I can promise you with motion it will change tomorrow, depending on who edits it, views it, where it's scheduled to play, either vimeo or cinemax and how big the project is.
Now whatever I say today, or use today, I have zero doubt it won't change, because projects, equipment, software and computer hardware are just starting that information/disinformation path that digital stills went through a decade ago.
People are already pixel peeping a 2k file from three Sony's, 4 Canons, two reds, 2 panasonics, 4 lenses, etc. etc., and viewing them on little vimeo videos and saying see, that _______ really holds up but in the world of motion, just like in the world of stills, if the post production money is really there (and in motion really there goes from 10 grand to 100 grand) you can make cell phone footage look pretty good.
I remember a time when adobe products like photoshop could only see a Canon file with an update, a Nikon file was virtually boycotted, a Hasselblad file took al alchemist to figure out, where today, all will work in a photoshop product with ease.
That's kind of where we are now with motion.
7 years ago I had a still photographer friend that was talking about monitor calibration and he said, "it's the wild, wild west". Imagine today if he moved to motion and I told him, sure you can buy a Canon or Sony, but you need a box that hooks to the camera to shoot a full rez file and oh, btw: that quicktime wrapper things is kind of funny because what it looks like in quicktime is going to be 50% more conrasty in FCP and btw if you want to edit in Edius you'll need to buy a peecee, if you want to process your red files out in less than 45 days, they make this rocket thing that only cost $5,000.
In fact the answer to workflow is this. 1. How much time do you have? 2. How much money do you have? 3. How many times did we agree to edit this thing? 4. How much money did you say you had again?
Our studios also has di-vinci, though I prefer working at the moment the outdated and dead in suite called Apple Color because for me it makes sense in time and speed. For others, not mac inclined it would be a stumbling block.
Also most everything is limited to 2k output and honestly I guess we'll have 4k viewing but I don't know if I really want to see an aging late night talk show host in full 4k glory ten minutes before I go to bed.
In fact I was told by one of our El Lay makeup artists that Hollywood Celebs are hiring MUA's before they go out for the day at the gym, shopping or Yoga, because if anyone catches them in high def video, it sometimes isn't that pretty. At least with stills the publicist can track down the magazine and say, " you gotta retouch her nose and fix those circles under the eyes before running the image in "gossip is us".
P.S. If your going to work in video/film/whatever moving pictures, learn to negotiate differently. You don't call and say ok a 3 day rental is really a week, (you put it our for bids) and don't say, don't worry about overages, we'll bury it somewhere, because it don't work like that. Learn that you negotiate depending on budget and learn to be a producer, if your a one man band or a staff of 50.