Color Grading

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I love doing color grading work—and I prefer to call it “grading” not “correction.” There’s so much opportunity to make creative decisions which drive the storytelling, just as with lighting, cinematography, and sound design. Beyond fixing production problems, good color can set the mood, tell us about the characters, direct the audiences’ eyes and add to the overall aesthetic. The process is fun and interactive, and the results are immediate.

There are two basic types of grading work I do: repairing issues in continuity, matching looks between lighting setups, lenses, camera settings and formats; and doing storytelling with color the same way a DP would tell a story with light, by balancing a shot to highlight a certain character, to support the structure of the film by creating a look for a location, establishing time of day, separating B-roll from A-roll, or archive footage from contemporary. Sometimes, the challenge can be in figuring out when to make purely technical fixes, and when to apply more creative intention to the footage. Each project is unique in its mix of the two—inevitably, even the most straightforward industrial occasionally requires interpreting the director and DP’s intentions, and the most perfectly shot narrative can benefit from technical tweaks. Whichever is your goal, you’ll find examples of both in my work.

My work has been featured at festivals around the world, including AFI Silverdocs, Mill Valley Film Festival, and multiple selections at San Francisco’s Frameline. Check out my work on this page, and contact me for a quote on your project.

For a filmography with links to recent work, please visit 32K Productions.

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