The above images are a series of RAW files that I downloaded and graded from scratch. They’re stills from a short film shot on a Red Helium 8K camera titled ‘Underdog’ by Director Jonny Mass of Abandon Visuals.

Over the past 12 months (longer) I’ve dedicated myself and time to the the world of post production. More specifically: Color Grading. Dynamic Range, LOG, RAW, Color Science, Curves, Wheels, LUTS, Codec Fidelity the whole nine yards.

I’d be happy to say I’ve developed a strong understanding (if somewhat frustrating application) of the process.

[original top left – final grade right]


  1. Gratification
  2. Improvement
  3. Growth

My goal here is not to become a “professional colorist”, but as ever, to become a better filmmaker. As the filmmaking bar in my mind keeps rising, I feel the need to keep jumping. Love it or hate it, I’m constantly looking for ways to gratify, improve and grow.

For me, color grading ticks all of the above in much the same way as any project I take on. More importantly, It’s a chance to take my work to the next level both in terms of narrative impact and production value… Aaannd to satisfy my Amy Santiago type obsession with color theory. More on that later 🙂

[split screen comparison]

I think it’s safe to say that like me, most filmmakers (consciously or subconsciously) hunger for the ‘Film Look’ — That flat, contrasty image with an even saturation of colors. Understanding that this all starts IN CAMERA through Cinematography, Lighting, Production Design, Costume etc is a  vital first step. Thinking it can all be done IN POST is a world of hurt waiting to bitch slap you!

And on that note, I shall bid you adieu.

Until next time.


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