The final delivery was 4K so the Production Master and all of the tests for the client were delivered in 4K. When rendering the Guide adjustment layer with the color correction applied was ignored and the client ended up with a VFX shot that exactly matched the camera original so no monkeying around with my 126 frames was required to make the FX match the rest of the footage in the scene. I put an adjustment layer as a guide layer with the basic LUT for the movie on the top layer so I could tell what the composite would look like because it's impossible for me to accurately judge anything if I'm looking at log footage, did all my compositing work, rendered the comp to the client's Open EXR sequence specifications. My comps were created from the EXR sequence so everything matched. Just finished a compositing job where the camera original was Log 6K sent to me as an EXR sequence. I always try and work at the native resolution of the project. It will take only a few minutes and give you everything you would get from camera tracker with a lot more accuracy. Pre-compose the layer before you run the tracker in Mocha or Do everything in a larger comp and scale it down later. A more efficient workflow for that shot would be to use Mocha AE to track translation, rotation, and scale only using the background elements.

Mocha tracker after effects