The Grade Is What Makes It Look Like A Film
Two edits of the same footage, one graded and one not, do not look like the same budget. Colour is the cheapest upgrade in post — it costs no reshoot, no extra kit, and it is the first thing a viewer registers.
- Log, RAW & phone footage
- Shot matching across cameras
- Custom LUT handed to you
If any of this is true right now, this page is for you
Your footage looks flat
You shot in log to protect the highlights and it came out grey and lifeless. Dropping a free LUT on it broke the skin tones.
Nothing matches
Two cameras, a drone and a phone in the same sequence. Every cut is a jarring shift in colour and brightness, and the viewer feels it even if they cannot name it.
Skin looks wrong
Faces come out orange, grey or sunburnt. Indian skin tones in particular get destroyed by generic presets built for other complexions.
Color Grading, delivered properly
Not a vague scope and a surprise invoice. This is exactly what is produced and handed over.
Primary Correction
Exposure, contrast, white balance and saturation set correctly on every shot — the unglamorous pass that does most of the work.
Shot Matching
Every angle, camera and lighting condition matched so a sequence feels like one coherent piece instead of a collection of clips.
Skin Tone Work
Faces isolated and placed correctly on the skin tone line, with particular care for Indian and mixed-complexion subjects that presets handle badly.
Creative Grade
The look — warm and nostalgic, clean and corporate, cold and cinematic, high-contrast and commercial. Built to a reference you approve.
Secondary & Power Windows
Skies replaced in strength, backgrounds pushed down, eyes lifted, logos corrected, distractions darkened so the eye goes where it should.
Custom LUT
Your signature look exported as a LUT you own, so your own editor can apply it to future footage consistently.
No hidden extras
Everything listed here is part of the base engagement — not an upsell discovered halfway through the project.
- Full primary correction
- Shot-to-shot matching
- Skin tone protection
- Creative look development
- Noise reduction where needed
- Broadcast-safe limiting
- Custom LUT delivered
- Two revision rounds
Four steps, no mystery
You always know what stage we are at, what is next, and what I need from you.
Reference & look
Send three stills or a film you want it to feel like. We agree the target before a single node is built.
Conform & correct
Your timeline is conformed in Resolve and every shot corrected and matched to a neutral, consistent base.
Build the look
The creative grade applied over the corrected base, with power windows and secondaries where shots need extra help.
Review & deliver
Graded review link, two revision rounds, then final renders in your delivery formats plus your custom LUT.
A closer look at the service
A visual example of the service. Actual project samples are available during your consultation.
What makes this different
Correction before look
Most "grading" is a LUT on uncorrected footage. The real work is the matching pass underneath, and that is where I spend the time.
Skin tones done right
Indian skin tones need deliberate handling. Generic presets built elsewhere make faces orange, and I correct for that by default.
You keep the LUT
Your look is handed over as a file you own, so your team stays consistent between projects without re-booking me.
Phone footage welcome
Not everything is shot on cinema cameras. I grade phone and hybrid footage regularly and know how far it can be pushed.
Pick the scope that fits
Every project is quoted after a short conversation, so you pay for the scope you need and nothing you do not.
Single Project
Best for: One film, ad or event
- Up to 10 minutes finished
- Full correct & creative grade
- Shot matching
- Two revisions
Look Development
Best for: Brands wanting a signature look
- Everything in Single Project
- Custom LUT package
- Style guide for your editor
- Multi-camera profiles
Ongoing Post
Best for: Studios & content teams
- Everything in Look Development
- Monthly volume rate
- Priority turnaround
- Direct Resolve project handover
Not sure which fits? Tell me the problem on a free 30-minute call and I will tell you the smallest thing that solves it.
What you should actually end up with
Footage that looks like it cost more
Sequences that cut together invisibly
Skin tones that look like real people
A repeatable look your team can apply
Answered honestly
Original camera files are ideal — log, RAW or 10-bit gives the most room. I can grade 8-bit and phone footage, and will tell you honestly how far it can be pushed before it breaks.
Yes. Send an XML, AAF or EDL with your media and I conform the timeline in Resolve, then return graded renders or the project file.
Within limits. Underexposure can be lifted with noise reduction; genuinely clipped highlights have no detail to recover. I will flag unsalvageable shots at the start instead of quietly delivering them.
A lookup table that applies your approved colour look to new footage in one click. Owning yours means your editor keeps everything consistent without booking a colourist for every clip.
Two to four working days for a short film or ad. Long-form and multi-camera projects are quoted by runtime and camera count.
Often booked together
Let's talk about your project
A free 30-minute call. You describe the problem, I tell you what it takes, what it costs and whether I am the right person for it.