Frequently Asked Questions
Working Together
How much does colour grading cost?
Every project is different, so I don't publish fixed prices.
I typically work on either a half-day, full-day or project fee basis, depending on the scope of the work. Factors such as running time, shot count, complexity of the grade, visual effects, revisions, deliverables and deadlines all influence the final cost.
If you're working to a specific budget, please let me know when you get in touch. I'm always happy to discuss the best approach for your project and provide a bespoke quote with no obligation. Whether you're an independent filmmaker, agency or production company, my aim is always the same: to find a workflow and budget that best suits the needs of your project.
How long does colour grading take?
Every project is different, so there's no one-size-fits-all answer.
As a rough guide, I can typically grade around 10–15 minutes of a narrative film per day, but this varies significantly depending on the complexity of the edit. A dialogue-driven drama with long takes will generally take less time than a fast-paced commercial, fashion film or music video with hundreds of cuts.
Turnaround is also influenced by factors such as shot count, visual effects, revisions, multiple deliverables and whether additional versions (such as SDR, HDR or social media edits) are required.
If you're working towards a deadline, let me know as early as possible and I'll recommend a realistic schedule for your project.
When should I contact a colourist?
The earlier, the better. While many projects arrive once the edit is locked, I'm also happy to get involved during pre-production to advise on camera workflows, colour management, camera tests and post-production planning.
Can I attend the colour grading session?
Yes. While most projects are graded remotely, attended sessions can be arranged if you'd prefer to be in the room.
For attended grading sessions, I can dry-hire a professional grading suite in London, allowing us to work together in a colour-managed environment. Studio hire costs are quoted separately and can be discussed during the planning stage.
Alternatively, many clients choose to review grades remotely using secure review links and live video calls, making collaboration straightforward wherever you're based.
Workflow
Do you work remotely?
Yes. Most of my work is completed remotely, allowing me to collaborate with clients across the UK and internationally. If required, I can also attend grading sessions in London or travel for projects.
What do you need from me to provide a quote?
A brief overview of the project, the running time, camera(s) used, editing software, delivery deadline and any creative references are a great starting point. If you have an offline edit or mood board, those are always helpful too.
What files do you need for colour grading?
The workflow depends on the project, the camera(s) used and your editing software.
In most cases, I prefer to work with the original camera RAW files or high-quality ProRes exports. Depending on your workflow, I may also require project files, XMLs, AAFs or EDLs to reconnect the grade to your edit.
If you're unsure what to send, don't worry—I'll guide you through the process and advise on the best workflow for your production.
Creative
Can you match the look of another film?
Reference images are incredibly helpful for communicating the creative direction you're aiming for. Rather than copying another project, I use references as inspiration to create a grade that supports the unique story and style of your own film
Can you colourise black and white footage?
Not as a restoration service, no.
I specialise in colour grading, which means shaping the look of footage that has been captured in colour. This includes creating everything from vibrant, stylised looks to subtle, natural grades—and yes, if the creative calls for it, I can absolutely transform colour footage into beautiful black and white.
However, I don't offer colourisation or restoration services, such as adding colour to archival black and white footage or restoring damaged film.
Yes. I can create show LUTs and camera-test LUTs during pre-production to help establish the visual direction before principal photography begins.
Can you create custom LUTs?
What if I don't know what I want my film to look like?
That's absolutely fine.
Not every project arrives with a fully formed visual direction, and developing the look is often one of the most rewarding parts of the grading process.
We'll talk through your story, themes and ideas, then explore different creative options together using your own footage. Sometimes a look reveals itself very quickly; other times we'll experiment until we find something that feels right. My role is to help shape a grade that complements how your film has been shot and best supports the story you're telling.
Technical
Can you deliver HDR and SDR versions?
Yes, where required.
Most of my work is delivered in SDR, however I can also provide HDR masters and SDR trims when a project calls for them.
As HDR grading requires a reference monitor and a colour-managed environment, I would typically hire a professional grading suite in London for these sessions. Any associated studio hire costs would be discussed and agreed during pre-production and included within your quote.
Every project has different technical and delivery requirements, so we'll discuss the most appropriate workflow before grading begins.
Do you work with DaVinci Resolve?
Yes. I'm a Certified Blackmagic Design DaVinci Resolve Trainer and complete all colour grading in DaVinci Resolve Studio.
What if I don't know the technical side of post-production?
Whether you're familiar with post-production workflows or it's your first time working with a colourist, I'll work with you to establish the most appropriate workflow for your project and ensure everything runs as smoothly as possible from edit to final delivery.
Still Have Questions?
Whether you're ready to book a grade or simply want to talk through an idea, I'd love to hear about your project.