I will do professional color grading and color correction for your footage

I will color grade and color correct your footage so every shot looks intentional, consistent, and cinematic — balanced, matched, and ready to publish.

What you get

Professional color grading and color correction tailored to your footage, your delivery platform, and the mood you're after. I work shot by shot, not with a one-click filter, so your final video looks deliberate from the first frame to the last.

• Primary color correction — exposure, contrast, white balance, and black/white point set correctly on every clip so nothing is crushed, blown out, or off-color.
• Shot matching — clips from different cameras, lenses, lighting setups, or times of day matched so cuts feel seamless instead of jarring.
• Creative color grade — a deliberate look (teal-and-orange cinematic, warm and natural, moody and desaturated, clean commercial, vintage film emulation, or a custom direction you describe) applied consistently across the timeline.
• Skin tone protection — secondary corrections and qualifiers so faces stay natural and healthy even when the overall grade is stylized.
• Scope-based fixes — selective adjustments using power windows, masks, and qualifiers to fix or enhance specific regions (sky, skin, product, background) without wrecking the rest of the frame.
• Log/RAW handling — correct transforms for Log, RAW, and flat profiles (S-Log, V-Log, C-Log, BRAW, ProRes RAW, and similar) so your footage is developed properly, not just contrast-stretched.
• Broadcast-safe levels — output kept within legal range so your video won't get rejected or look clipped on delivery platforms.
• Final graded export — your video rendered to the codec, resolution, frame rate, and color space you need (Rec.709 for web/broadcast, or HDR/Rec.2020 on the higher tiers).
• A reference still or short preview before the full render so you can confirm the direction before I commit to the whole timeline.

I deliver the graded video file and, on request, the grade/LUT or project nodes so your editor can carry the look forward.

Plans

Feature	Basic	Standard	Premium
Footage length covered	Short clip / single scene	Full short video	Long-form / multi-scene project
Color correction (exposure, contrast, balance)	Yes	Yes	Yes
Creative grade / custom look	Light grade	Full custom look	Full custom look + secondaries
Shot-to-shot matching	Basic	Yes	Advanced, multi-camera
Skin tone refinement	—	Yes	Yes
Power windows / masks / qualifiers	—	Limited	Extensive
Log / RAW development	Yes	Yes	Yes
HDR delivery option	—	—	Yes
Exported LUT / grade nodes	—	Optional	Included
Revisions	1	2	3
Source files / project handoff	—	—	Included

Tell me your footage length and I'll point you to the right tier — every plan is scoped to the actual material, so you're never paying for coverage you don't need.

How it works

1. Share your brief and a sample. Send me a short representative clip (or the full project), tell me the camera/profile it was shot on, your delivery platform, and a few reference frames or videos for the look you want.
2. I review and confirm scope. I check your footage for exposure issues, mixed lighting, codec, and color space, then confirm the tier, turnaround, and creative direction in writing before starting.
3. Correction pass. I balance every shot — exposure, white balance, contrast, and levels — and match clips across the timeline so the foundation is clean.
4. Grade pass. I build the creative look on top of the corrected base, protect skin tones, and use secondaries to shape specific regions.
5. Preview for approval. I send graded reference stills or a short preview so you can confirm the direction before the full render.
6. Revisions. You give feedback; I refine within the revision count for your tier.
7. Final delivery. I render to your required specs and hand off the graded file — plus the LUT/nodes or project file if your tier includes it.

Why choose this

Color is the difference between footage that looks "filmed on a phone" and footage that looks produced. I don't drop a preset and call it done — I correct each shot first, then grade with intent, which is why mixed-camera and run-and-gun footage comes back looking unified instead of patchy.

I work non-destructively with node- and layer-based grading, keep everything broadcast-legal, and develop Log and RAW footage with the correct transforms instead of faking contrast. You get a clear preview before the full render, honest guidance on what your footage can and can't support, and a delivery built to your exact platform specs. If your source is genuinely underexposed or clipped, I'll tell you up front what's recoverable rather than overpromising a fix that isn't physically there.

Who it's for / use cases

• Filmmakers and content creators who want a cinematic, consistent look across a short film, music video, or YouTube upload.
• Wedding and event videographers matching multi-camera, mixed-lighting coverage into one polished story.
• Brands and agencies needing clean, on-brand commercial color for product videos, ads, and social content.
• Real estate and travel creators who want bright, true-to-life interiors and skies that pop without looking fake.
• Editors and studios who need overflow grading help with a fast, spec-correct turnaround.
• Vloggers and course creators who shot in a flat/Log profile and need it developed into a finished, watchable look.

FAQ

Q: What footage formats and cameras do you support? I handle standard codecs (H.264/H.265, ProRes, DNxHD/HR), RAW (BRAW, ProRes RAW, R3D-style workflows), and Log/flat profiles from Sony, Panasonic, Canon, Fujifilm, DJI, GoPro, and most mirrorless and cinema cameras. If you're unsure, send a sample and I'll confirm.

Q: Can you fix underexposed or badly white-balanced footage? Often, yes — within limits. Color correction can recover a lot, especially from Log or RAW. But clipped highlights and crushed-to-noise shadows have lost data that can't be invented. I'll review your sample and tell you honestly what's achievable before you order.

Q: Will you match shots from different cameras? Yes. Shot matching is a core part of this service. Send all the angles and I'll balance them so cuts between cameras feel seamless. Multi-camera matching is most thorough on the Standard and Premium tiers.

Q: Do I get a LUT or project file I can reuse? A LUT or the grade nodes are optional on Standard and included on Premium, and source project handoff comes with Premium. That lets your editor reapply or extend the look on future footage.

Q: How should I send my footage? A download link to the original files (cloud drive or transfer service) works best. Please send the original camera files when possible rather than re-compressed exports, since re-encoded clips grade worse and limit how far I can push the color.

Q: How many revisions are included? Basic includes one revision, Standard two, and Premium three. Revisions cover refining the agreed direction; a completely new creative concept after approval is treated as new work.

Q: Can you deliver in HDR? HDR (Rec.2020 / PQ or HLG) delivery is available on the Premium tier, provided your source footage was shot in a format that carries the dynamic range for it. I'll confirm suitability from your sample.

Q: What do you need from me to start? A representative clip or the full project, the camera/profile it was shot on, your target platform and delivery specs, and a few reference images or videos showing the look you're going for. The clearer the references, the closer the first pass lands.