Intentional, subtle color is too often a big missing piece from video. And to make matters even more pressing—typically, the lower your budget on set, the more a color is needed to produce professional results.
Attention to color makes the difference between passing footage and cohesion that enhances work. Setting time aside for the grade may seem excess to requirements, but it's a distinct part of post best not overlooked. What begins on set with white balance, calibration, and lighting is only the start of finding the right look for a project.
Using scopes, the right tools, and some informed process, we can walk your footage through linear, yet modular, stages of refinement.
Photo
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Experience Delivering
Event
Product
Instructional
Batch Processing
Supported Toolset
Lightroom
Capture One
Affinity
Experience Delivering
Exposure ramping
Timelapse Post Processing
RAW sequence capture
Supported Toolset
Lightroom
Capture One
Affinity
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Experience Delivering
Commercial
Construction
Real Estate
Experience
Managing Multiple Collaborators
Remote Teams
Scheduling
Location Scouting
Technical Producing
Workflow Enhancement
Familiarity with vocabulary and concepts integral to managing phases of a project based on the PMP project management framework. Communication being so vital to the success of a project, I strive to gain alignment using universal language and predictable structure whenever possible.
When it comes to file sharing, document versioning, scheduling, and other PM infrastructure—I use Google Workspace integrations. This in combination with task-based time tracking helps maintain scope and budget for sprints, each step of the way.
Why Google? Simply put, it's the most effective single point of truth in managing my project and professional needs.
However, with experience in a variety of project management paradigms and a mind for dependency related workflow I come prepared to join your organization whatever sandbox you're working with.
If something needs to be accessed, referenced, copied, shared, mailed, or strapped to a courier pigeon—I build systems to find it. Quickly.
Asset management is one of those vital, oft-overlooked parts of content creation. Especially whenever collaborating with a team or handing off deliverables to an end client. Actively managing projects spanning multiple systems, content types, cloud/local/roaming storage, as well as integrating external expectations for asset management means systemization for seamless operability at any point during the project life cycle. Care is taken to project/asset versioning control with iterative backups so checkpoints are never far off should the unexpected occur.
I've refined project housekeeping methods to insure easy archival and retrieval of assets well after the close of a project.
Basically, I ♥ building multi-tiered organizational structures.
So anyone not familiar with a project has a well defined road map to pick up where needed. Oh, and this applies holistically to spaces, physical resources, and digital assets.
Supported Toolset
I cut my teeth editing on Final Cut Pro 7 prior to 2012. Currently, I’m proficient editing in Adobe Premiere and DaVinci Resolve with a cumulative 14 years experience.
I'm at home refining interview footage and pacing ideas with audio/visual language. I find procedural methodology is vital to technical workflow, it's the backbone for creativity. From ingesting source media through finishing I have a mindset geared to iterative improvement. Both for refining my own process and adopting that of who's hiring me.
Here are a few high level points to give you an idea on my approach to the process of editing:
- Source Media: Templated local/cloud based source media organization tailored to the retrieval needs of various project types.
- Meta Tagging: For larger ongoing projects, this is a dynamic way to recall content based on project needs.
- Collaboration / File Exchange: Established workflow for sharing various content types with different contributors along the post journey.
- Conforming for color: I’m comfortable moving between Premiere and Resolve in early stages of an edit to accommodate color needs.
- Adobe Dynamic Linking: Familiar with best practices when linking between Adobe software. i.e. linked timelines vs. Essential Graphics Panel vs. versioned encodes
- Templates: Folder Structure, Power Bins, Power Grades, Creative Cloud Libraries, and Presets galore. If I need to do something more than once I try to build structure around it.
- After Effects + DaVinci Resolve: Yes, definitely. There’s no substitute for Adobe After Effects and moving between the two is super important. Some versioned rendering is needed, but It can be worthwhile to have the benefits of each.
- Versioning: Special attention to version control whenever dealing with dailies selection, interview parsing, deliverables, and trimming b-roll. Iterative progress is important, particularly in on-going series.
"
Do what you can,
with what you have,
where you are."
—Theodore Roosevelt
I hold onto the manual for my first editing software, not just as a nifty artifact, but as a reminder that tools, techniques, and aspiration will and should grow with time.
It’s important to keep trying new things. And when that fails, never stop learning.
Experience Delivering
Product/Service
Human Resources
Promotional
Customer Success Stories
Social Media Content
Travelogue
Multicam
Event Recap/Promotion
Saftey/Instructional
Corporate Internal Communication
Supported Toolset
Lightroom
Capture One
Affinity
...an intrinsic part of the image.
Let's bring your story to life with crafted light & shadow.
This fixed node tree approach addresses these stages in a predictable, repeatable fashion across large numbers of shots. Employing industry tools and techniques sourced from various professional colorists, we can systemically dial in a unique look using flexible non-destructive workflow; starting with general color correction or working backwards from look dev & creative LUTs.
Of course there's more than one way to skin a cat. So we'll find a path suitable to the needs of the project making the most of our time.
Below you can see a few work samples and a preview of my fixed node tree with a high level description of each phase in the process. There's carful consideration to order of operation to accommodate a variety of workflows in a non-destructive manner. This fixed, modular approach gives the flexibility to quickly try different tools and techniques without expensive reconfigurations that could ripple elsewhere in the process.
Of course there's more than one way to skin a cat. So we'll find a path suitable to the needs of the project making the most of our time.
Below you can see a few work samples and a preview of my fixed node tree with a high level description of each phase in the process. There's carful consideration to order of operation to accommodate a variety of workflows in a non-destructive manner. This fixed, modular approach gives the flexibility to quickly try different tools and techniques without expensive reconfigurations that could ripple elsewhere in the process.
LOG
Grade
Node Tree
Why SO many nodes?
Many leading colorists work with minimalist node graphs. Keeping the process as simple as possible; for the sake of making adjustments quickly, across large numbers of shots. It can be true that the lower your budget the more work needs to be done in post. Especially when working with consumer/prosumer mixed source media as is common in documentary film making.
My preference is for expanding commonly used individual functions across the grade giving refined visual/operational structure. Extensive node trees within delineated node layer-stacks, identify exactly where each action is taking place. This also provides greater control over common order of operation pitfalls—making it possible to use different workflows interchangeably in a non-destructive fashion.
Since much of my work involves documentary style footage captured at 10 or even 8-bit, third party look development tools have become an integral part of color workflow. Supplementing Resolve with a subset of gentler handling adjustments for noisy, highly compressed footage without breaking the image. I’m continually developing this node graph and the specialized tools placement within it as my understanding of the craft does.
My preference is for expanding commonly used individual functions across the grade giving refined visual/operational structure. Extensive node trees within delineated node layer-stacks, identify exactly where each action is taking place. This also provides greater control over common order of operation pitfalls—making it possible to use different workflows interchangeably in a non-destructive fashion.
Since much of my work involves documentary style footage captured at 10 or even 8-bit, third party look development tools have become an integral part of color workflow. Supplementing Resolve with a subset of gentler handling adjustments for noisy, highly compressed footage without breaking the image. I’m continually developing this node graph and the specialized tools placement within it as my understanding of the craft does.
Process Logic Overview
01. Conform
When working with projects containing many types of footage, originating from different sources it can be helpful to conform footage on a shot-by-shot, or grouped basis. This allows for all changes to color management to happen in one location, at the node tree level. Rather than having to implement changes in project settings. Introducing opaque complications to order of operation. Seeing node level conform to DWG or other working color space ensures confident, predictable use of color space aware tools. As well as maintains end-to-end control of the pipeline.
02. Correction
Most correction processes occur at the clip level. Exposure and balance are mostly handled in a linear space, with Log adjustments filling in regional luminance corrections. A crosstalk node helps with color definition and separation early in the process. For individual shots needing special attention, a suite of nodes for Saturation, Contrast, Hue, and Density can also be employed.
03. Shot Matching
Shot matching begins with a Pre-Clip, group level calibration node. Usually segmented by Camera/Scene. This is a good way to broadly account for inconsistent white balance or camera sensors that skew toward a particular color cast. In lieu of manual calibration, I’ll use color charts when available. It's usually best to handle most shot matching actions in group level corrections. Though, primary correction nodes fill-in for especially complex adjustments.
04. Grading
For hero shots, key moments in a scene, or just highly problematic footage, there may be a need to add additional layers of finesse beyond typical correction and color consistency. These embellishments usually occur at the Clip level in the Secondaries layer-stack. Shaping the frame with masking or qualifiers to train the eye to parts of the frame. Or add special effects to a region of the image. These zones are prequalified in nodes with commonly used settings for quick access. Making these adjustments easier to enable during an intentional Grading pass or interspersed in an overall session.
05. Look Development
Look Development happens at either the timeline or post-clip group level depending on the structure of a project’s content. Depending on what the goals of the look we’re trying to build, it’s common to either end with look development after completing the previous steps or as a precursor to correcting the footage. Allowing choice like split toning or a creative LUT drive choices in all of the previous steps. Because this node tree is set up in a non-destructive fashion, there’s a lot of flexibility when approaching when to make changes here. Sequencing can depend somewhat on the nature of the footage and supporting direction.
Making adjustments at this phase of the pipeline generally requires a much more delicate touch, using third party tools developed specifically for look development. Native Resolve correctors tend to be too narrow or broad to make changes with groups of images without unintended affects. Likewise, special handling of transforming the image’s display rendering happens at this phase.
Think of this as a top coat that brings the delicate finish of the image together.
Making adjustments at this phase of the pipeline generally requires a much more delicate touch, using third party tools developed specifically for look development. Native Resolve correctors tend to be too narrow or broad to make changes with groups of images without unintended affects. Likewise, special handling of transforming the image’s display rendering happens at this phase.
Think of this as a top coat that brings the delicate finish of the image together.
Experience Delivering
Multiple End-Devilerables
Film Emulation
Project Specific
Workflow Development
Non-destructive Process
Some techniques I've picked up along the way:
- Fixed Node Trees for predictable workflow
- Node level individual corrections, this lends itself to modularity when reversing work is needed
- Look Development DCTLs employed for subtle, timeline level adjustments
- Easily transposed/overwritten base level corrections on the shot level
- Group adjustments can be added seamlessly for mixed media CST workflows
- Quickly isolate regions of interest with preconfigured nodes for masking/keys
Under controlled lighting, my setup is comprised of routinely color calibrated, backlight 4k displays with 97% DCI-P3 color gamut accuracy. I grade with a set of custom programmed midi controllers, using a Loupedeck+.
Supported Toolset
Lightroom
Capture One
Affinity
Instructional Video:
Half day shoot, 4-man crew including on camera talent.
Script outlining steps and product features to highlight.
Basic lighting setup using diffused bi-color LED panels.
Script outlining steps and product features to highlight.
Basic lighting setup using diffused bi-color LED panels.
Pre-Production.
Foundation is everything.
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Video.
Solo shooter/crew operator.
Camera operation capabilities range from shooting as a one man band to working with small crews. Camera kit may range from a single camera/zoom lens rig to multicam setups using an array of prime lenses. Comfortable filming with a traditional manual Glidecam, motorized stabilizers, and sliders.
Adept at location scouting with a trained eye to determine equipment and blocking needs. I specialize in documentary-style environmental montage storytelling, informed by years of shooting on the road.
Adept at location scouting with a trained eye to determine equipment and blocking needs. I specialize in documentary-style environmental montage storytelling, informed by years of shooting on the road.
Timelapse.
Tracing light & shadow.
Drone Piloting.
Part 107 aerial imaging.
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Illumination.
Lean product/interview lighting.
Proficient with portraiture, interview and product lighting. Both in a studio setting and on the road. Lighting capabilities are limited to a modest, lightweight LED panel kit for ease of transportation. Though, more substantial equipment is available based on project needs.
Whenever possible, my preference is to add pools of light to frames of shadow.
Whenever possible, my preference is to add pools of light to frames of shadow.
Experience Delivering
Drone / UAV
How to / Instructional
Event Recap
Documentary
Product / Service
Action Sports / Movement
Commercial
Travelogue
Experience Delivering
Logo Bumpers
Lower Thirds
Typography Animation
Custom Transitions
Particle Systems
Motion Tracking
Basic Compositing
Multipass EXR workflow
Supported Toolset
