The IS workflow is heavy but very effective. It's the kind of workflow you'd have to do for compositing-effects in Nuke for ex.
The principle is very simple.
- First edit your clips
- lets say you have a clip on the timeline in .264 (or Prores or whatever) you'd like to grade using PS (non extended)
- export an in-out image sequence in Tiff or DPX
- you have a folder with your stills now. lets say 1500 still for ex.
- import 1 characteristical still in PS with the script enabled (so you're recording what you're doing in ps)
nota: you'd need to master the scripts in PS but it's easy.
- Apply your corrections like any still pic (the IS being a succession of still images). You can work in 16 bits or more
- stop recording the script caution: included saving and closing your image. You stop record after closing.
- Apply the script to all the other 1499 pics
- PS will automatically do that in background while you can concentrate on other tasks
- re-import the image sequence graded in your NLE, (I often convert the IS into a intermediate format because the IS can stress the editor)
- export a final master in Prores 444 or 422
- from the master, export for the web or whatever
In Nuke, high-end compositing, special effects, it's an image sequence workflow. If not it's almost impossible. You'd crash on effects if it was motion format like Prores. http://www.youtube.com/watch?v=owr48EDwVkc
see that these are sliders too, very much like PS