SEQ 02 GRADE
Color Grading
Color is the difference between filmed and directed.
Color grading is my core discipline: more than 20 graded productions for the machine-building and industrial sector alone. I develop looks, match cameras, rescue log footage and make sure skin tones look like skin tones — on every display. All work is done in DaVinci Resolve Studio on a dedicated grading panel, remote for clients worldwide.
Look Development
A look that fits the brand — not the tenth rehash of teal and orange. Developed on reference material, documented as LUT/PowerGrade for follow-up projects.
Shot Matching
Three cameras, two shooting days, changing light — after the grade everything looks like it was cast from one mold. The supreme discipline nobody notices when it is done well.
Log & RAW Workflows
S-Log3, ARRI LogC, RED, BRAW, V-Log: I pull the full dynamic range out of flat material — color-managed from the first node.
Skin Tones & Brand Colors
People need to look alive, brand colors need to be exact — doing both at once is the job. Corporate blue stays corporate blue, even next to warm practicals.
Fix & Rescue
Overexposed, underexposed, mixed light, banding: much of what seems lost can be saved. Honest assessment upfront about what works and what does not.
Delivery Standards
Rec.709 for web and broadcast, clean gamma on every target device, consistent from the trade-show LED wall to the smartphone.
DEMO Before / After
The difference, live
Log / Ungraded Final Grade 
Log / Ungraded Final Grade FLOW How it works
Four steps to master
Reference & Direction
Look frames, brand colors, reference films — we define the direction on concrete images, not adjectives.
Balancing
Every shot is technically cleaned up: exposure, white balance, camera matching. The foundation the look stands on.
Look & Refinement
The actual grade: look, secondaries, power windows, skin isolation. This is where the cinematic feel is born.
Review & Master
Approval on a calibrated monitor, checks on consumer devices, then export to spec — including LUT handover on request.
REF Related Work
Exhibits
FAQ Frequently asked
Straight talk
Do you grade edits cut by someone else?
Yes — grading-only is half of my work. Production companies send me a timeline or export and get the finished grade back. Roundtrips from Premiere, Final Cut or Avid are routine, fully remote.
What does color grading cost?
Depends on length, shot count and ambition. A 2-minute film with ~40 shots typically lands in the low four-digit range (EUR) — you get a fixed quote after I review the material.
Why not just drop a LUT on it?
A LUT treats every shot the same — but footage is never the same. Without per-shot balancing there is no consistent film, just a tinted one.
What equipment do you work on?
DaVinci Resolve Studio with a Mini Panel and calibrated monitoring. The panel is not a toy: it makes the grade faster and more precise — both save you budget.
Next step
Your footage deserves more.
Tell me about your project — raw footage, an idea, or an edit that does not shine yet. You will get an honest assessment and a concrete quote within 24 hours.