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Building Color Confidence
— from Pre-to-Post

Redefine your color workflow as a Commercial Film Director for you, your client, and your crew.

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Your New, Redefined
— Color Pipeline

Swatch Four streamlines your color pipeline from pre-to-post production so you, your crew, and your client can experience your desired color from beginning to end.

A unique LUT for your one-of-a-kind production

Alongside your DP, we build a dedicated pre-production Show LUT  — a “look” file that allows you to monitor your ideal color in real-time.

The ultimate video village experience

Color is now no longer reserved for the final grade. You can effectively guide your client and crew, ensuring a smooth post-production process once your day is wrapped. Simply put, your client’s monitor is more than just a generic, straight-from-camera Rec709 reproduction.

Enter the edit with the same footage, same color

This custom LUT file travels with your footage — from on-set dailies, to your editor’s timeline, to VFX workflows, to the final color grade. No matter where your footage shows up, your color remains consistent and true. Generic camera LUTs (or, even worse, unpredictable creative LUTs) are no longer part of your workflow.

Finish strong with a final color grade

Your color doesn’t stop once the edit is locked. The time we shaved off in pre-production allows us to focus on shot consistency, preserving memory colors, and maintaining accurate brand colors, all without extending your post-production timeline. This approach lays the foundation for the final grade.

What You Get

Show LUT + Final Grade

In the end, expect a fully color-graded project enriched by a pre-production Monitoring LUT, all within your budget and final deadline.

Consistent Clientele

First-time clients quickly become reoccurring contacts, all because they see that you have their best interest in mind. Brand colors remain true-to-brand, even in your creative color palette.

Marketable Portfolio

Distinguish your portfolio from your competitors to fuel your marketing strategy. Work with ideal Producers, DPs, or more premium clients and brands. Catch their attention and solidify their confidence.

Assurance in Post

As production wraps, your DP and crew have complete confidence that their creative decisions are accounted for in a single Show LUT, even if they’re not a part of the post-production process.

What You Get

Show LUT + Final Grade

In the end, expect a fully color-graded project, enriched by a pre-production Monitoring LUT, all within your budget and final deadline.

Consistent Clientele

First-time clients quickly become reoccurring contacts, all because they see that you have their best interest in mind. Brand colors remain true-to-brand, even in the midst of your creative color palette.

Marketable Portfolio

Distinguish your portfolio from your competitors to fuel your marketing strategy. Work with ideal Producers, DP’s, or more premium clients and brands. Catch their attention and solidify their confidence.

Assurance in Post

As production wraps, your DP and crew have full confidence that their creative decisions are accounted for in a single Show LUT, even if they’re not a part of the post-production process.

You, your client, and your production deserve some color confidence.

LET'S CHATSEE THE WORK

The Capture-to-Color Pipeline
— a 3-Step Process

Discover how our color workflow can better suit your needs, starting in pre-production and maintaining consistency throughout post-production.

STEP 1 — THE BUILD

Crafting your swatches in “pre”

  • Collaborate early in pre-production to build upon your creative intent, establishing the “look” for your film from visual references.
  • Work alongside multiple departments to help deliver your desired color palette.
  • Design a custom Monitoring LUT based on your specific camera package and visual references.

STEP 2 — THE PRODUCTION

Infusing your color on-set

  • Implement your LUT across all monitors on-set, benefitting you and your DP, including your client’s experience in Video Village
  • Build trust with your clients and demonstrate your commitment to their visual aesthetic.
  • Gathering feedback on your Prep Day allows us to make timely adjustments to your final LUT file, keeping your production schedule uninterrupted.

STEP 3 — THE REFINERY

Maximizing your palette in “post”.

  • Communicate over Live remote sessions and Frame.io, ensuring that your feedback is implemented every step of the way.
  • Build in shot-to-shot consistency so that every camera and environment remains seamless across multiple days of production.
  • Preserve skin tones and other memory colors to keep your subject beautiful and believable.
  • Maintain your client’s brand colors and their visual identity.

Together, let's discover how we can redefine your pre-to-post-color workflow.

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Commercial Color
— in Real Time

There’s no doubt about it — You’ve been burned in the past when working with LUTs. They’ve been unpredictable and have damaged the integrity of your footage. When designed correctly, a creative LUT is a reliable color tool that sets the foundation for our final grade.

A custom, dedicated, done-for-you LUT — before you step on set

Camera-specific codecs, color spaces, and lighting scenarios — all necessary considerations. Your unique Show LUT is designed with these limitations in mind without unwanted artifacts.

Deliver Rough Cuts without the ‘709-Look’

Once you enter post-production, your editor and VFX team receive the same LUT file used on-set. Color is no longer up for debate or creative interpretation. Every rough cut will feature the same curated look that you, your client, and DP fell in love with.

Give your client and crew some color confidence

Every department, from Wardrobe, to Props, to Lighting, greatly benefits from this pipeline. They can see their work transformed in real time. Their creative color decisions can be made intentionally and in-the-moment. Now, your client has a glimpse into the post-color process, all without waiting until the edit is complete.

All of this stems from one custom LUT. Your time is saved, and your color is covered.

LET'S CHATSEE THE WORK

Maximize your Negative
— Push it in Post

Your production is wrapped, and your editor's timeline is officially locked. Now, let’s discover what your footage is capable of in the final color grade.

A unique LUT for your one-of-a-kind production

As you enter the final grade, your client no longer questions dramatic color changes to your footage. Instead, our time is reserved for matching shots, dialing in necessary detailed work, and pulling your talent and product to the forefront.

Dial in your client’s color palette and brand guidelines

Hex code: #F40009 – "Coca-Cola Red".
We make sure that brand colors remain consistent and accurate to your client’s guidelines and expectations.

Create consistency and visual flow, from shot-to-shot

Multiple cameras, multiple locations, over multiple days — uild shot consistency acoss your entire project to establish that seamless experience.

Keep your memory colors true-to-life

Skin, foliage, sky — these are all colors that we humans recognize the most. Unless your creative directs us otherwise, we ensure that your subjects and environments remain believable and blend with your desired color palette.

Let's instill some color confidence and demystify what color can do for your production.

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Still Have
— Questions?

Color may be new to your commercial workflow. Whatever concern you may have, I've probably answered it in more detail below.

When the grade is complete, what files will I receive back?

No matter the workflow, you will receive your final grade in a ProRes 4444 XQ format. I have two workflows that we consider when finalizing your color-graded timeline.

If you are using the “Source Media Workflow,” you can expect individually graded ProRes clips, each with 24-frame handles.

If you decide to use the “Flat Quicktime Workflow,” you will receive either individually graded ProRes clips or one single graded ProRes file of your entire project (based on your or your post-team’s preference). Please note that this workflow provides no frame handles upon final export.

I provide step-by-step instructions on how to prepare your initial timeline.

What if I have changes to our custom Show LUT?

While not completely necessary, this process works best if your production has incorporated a proper Prep Day. (Note: If you have a DIT onboard, check out the FAQ below.)

This additional day allows me ample time to gather feedback, adjust, and re-export LUT files for every camera. I export several variations of the same Look file to ensure that your exposure and overall color values remain intact. This addresses any environmental changes we might not have considered in pre-production.

I highly recommend utilizing a prep day. Otherwise, we could risk holding up your schedule during your actual production, at which point we cannot guarantee a swift turnaround. Otherwise, we could run the risk of holding up your schedule during your actual production.

But of course, if you can access your camera at your local rental house or you work ith an owner/operator, this testing phase can be completed well before your production begins.

How does this LUT workflow apply to my DIT?

Colorists love DIT’s. They speak our language. This LUT workflow is nothing new to their existing color pipeline. Having a DIT onboard brings far more control to your production.

In short, I will work directly with your DIT to ensure your color pipeline is secured. Be sure to introduce us to your DIT early on in pre-production. I will take it from there.

How long will a post-production color grade take?

I take into account several key factors when estimating time spent in the final grade:

  • Receiving and prepping your project file and raw footage
  • The overall length of the project, including the total number of deliverables
  • Time to gather feedback from both you, your team, and your client.
  • Addressing feedback with up to 3 rounds of revisions

Commerical campaigns, short films, feature-length documentaries—they all have different timelines to consider. Reach out directly and we can discuss further!

What files do you require to build a Show LUT?

Building our Show LUT aims to translate your specific camera’s color space into your specified color palette. We must test this color palette across many different lighting scenarios to ensure that all values remain intact.

My collection of raw footage spans multiple color spaces, camera types, and lighting scenarios. If I don’t have what you’re looking for, any footage that you’ve captured in the past can be excellent assets to have on hand.

No matter the process, your reference imagery is beneficial to this process. This helps determine the overall creative intent of your film. References could include (and are not limited to) images from Shot Deck, AI imagery from Midjourney, your client’s brand guidelines, video links, or any other digital asset.

What can I expect from a Live remote color session?

A Live color session is designed to allow full access to the overall color process. This service is an excellent way to collaborate quickly and address any immediate adjustments to your image.

Within my package rates, I ship a calibrated iPad directly to your doorstep. Essentially, this removes any concern you may have in regards to working remotely without access to a calibrated display. I will stream a high-fidelity, low-compression feed to that that iPad during our remote sessions.

Additionally, I make sure to gather all feedback over Frame.io following our initial session. We will work from there!

My DP prefers using their own LUT's. What would you recommend?

Not a problem! I understand how DP's regularly operate and absolutely understand the hesitation. I make sure to cater to you and your DP's existing workflow.

One crucial aspect to consider when using various LUTs is the general stability of those files across multiple lighting scenarios. Some LUT files "break" when exposed to certain hues or saturation levels. I suggest you share your LUT with me in advance to define its characteristics in our post-workflow. If it could perform better, I can create a new LUT file that features similar visual qualities while still remaining flexible and versatile. From that point, I can slightly modify the file, ensuring that your DP's technical and creative intentions are accounted for.

We plan to shoot in very dark scenarios. Any recommends?

Absolutely. Many DP’s love using custom LUTs that adjust for underexposure. In short, your DP exposes much brighter, but they apply a specific LUT that “normalizes” their image. The benefit of this approach is that you’re not starving your sensor of light in darker scenarios.

Ultimately, this workflow keeps your digital negative free of unnecessary noise while retaining plenty of shadow detail. This approach can be used with any camera, but iuseful with sensors that struggle in dimly lit scenarios.

If you're interested, I've built an entire toolkit of Exposure Compensation LUTs the cover most camera sensors. You can download that toolkit here.

Nonetheless, I would highly recommend building in an extensive prep day to test out these adjustments.

Swatch Four? What's the meaning behind the name?

I'm glad you asked.

Minimalism is critical to our workflow. So I asked myself, "What is a unique way to condense your entire project into a single graphic?"

I found that four individual color swatches were an excellent representation of every project that I work on. I condensed it to 1 shadow, 1 highlight, and 2 mid-tones — in no particular order.

While my color grading process doesn't necessarily revolve around these strict rules and limitations, seeing your entire project reduced to its most simplistic form is refreshing. If you skim my Work Page or Instagram Feed, every project I share features four color swatches pulled directly from the overall palette.

As a result, “Swatch Four” was born.

Color can be a complex topic, but it doesn't have to be. Let's talk it out and discover how color can benefit your next production.

LET'S CHATSEE THE WORK
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