Yes, After Effects is a great color correction tool. As far as what's the best way to go about it, it depends on what you're trying to acheive and how awesome your computer is. Pick a film you want to match the look to and go from there. Deciding on the look will do a lot to determine your workflow. BTW you should seriously consider saving color correction until you've locked the cut. Then you can work off the edit render.
Color grading is only partially subjective.
You need a superb monitor and excellent viewing conditions and you need to be absolutely conversant with video scopes.
Thanks. I am aware of the color correction workflow: color spaces, monitors, calibration proccess, etc, I have used Speedgrade and Scratch.
Sorry, but English is not my native language. The subject of my thread is that AE could be an excellent platform for advanced color grading, with help of plugins as Colorista2 and Color Finesse, if it had a special timeline for import EDL, because the normal timeline for this task is difficult as each clips becomes a layer. With a long form project you have got a lot of layers, and navigation between clips becomes very difficult. The current timeline is suitable for composition, but not to color correct a movie, for example. Another solution could be a new type of layer that includes all the clips in the EDL, but as separate elements to apply effects such as Colorista to each clip, or apply adjustment layers for more complicated effects.
I hope to have explained better the subject.
Don't be too anxious to get an entire feature into AE as a single project. Back in the day when we cut and spliced film we worked with a maximum reel size of 1000 feet. That's 10 minutes. Even the colorist at the lab only worked on 1000 feet at a time. When It's time for me to color grade in AE I render to a nearly lossless or lossless 10 bit codec segments or scenes of the movie that go together so that I'm not dealing with every shot.
This is actually the same way I cut. I cut Scenes together as individual sequences then I drag all of the scenes into a new timeline that is the movie. If a scene needs work then I just open up that scene's timeline and make the changes. This is easier in the long run, faster, and especially easier when you're trying to fine tune the story and the performances. I know a lot of editors that work this way. I've never seen anyone with a bunch of experience just start at 00:00:00;00 and start cutting a show from the first shot to the last. I've never known anyone that was that good.
Yes, to divide projects is a good strategy, but a sequence can to be very long and to have a lots of shots, and while some shots could to share same correction, you must have all the shot as layers for single corrections, and that's a lots of layers.
Think keyframes. I can't recall a single long form project that I've ever done in AE that required each shot to be on a unique layer. I should do a video tutorial.
This is possible with simple effects as Curves or Levels, but I think that Colorista II and Color Finesse are plugins with a lots of options, very complicated to use hold keyframes. And Colorista lacks keyframes for shadow-midtone-highlight wheels...