The easiest and most dependable way would be to think of "Color" as if it were a DaVinci. How would you prep for that? You'd output a digibeta (SD) of your entire sequence and then do a tape to tape color correction of the textless master. If you need to go "cross platform" that would be your best bet.
Sure, you can import sequences via automatic duck, but honestly, if you have stills, speed ramps or any other non standard material in your timeline, your easiest way to get into color would be to output to tape, then digitize that tape into an FCP sequence for Color. It's a bit of kluge, but it will work.
Good luck.
mark
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