COLOR GRADING & FINISHING
Color Grading & Finishing
the look your stills promised, kept in motion.
Color is where footage becomes brand. We grade for fashion first — true fabric color, protected skin, product shades that match the box — then build the mood your campaign is remembered by.
Grades
Matching
Balance
Finishing
Color isthe brand
MATCH
SKIN
FABRIC
MOOD
WHAT IT INCLUDES
Finishing that starts
with accuracy.
Creative grading
The campaign look: contrast, palette and mood designed for your brand and built on a technically corrected base.
Shot matching
Sequences balanced across cameras, locations and lighting so a film feels shot in one breath, not five days.
Correction & balance
Exposure, white balance and color-cast repair — the unglamorous work that makes creative grading possible.
Master finishing
Final polish and delivery masters prepared to each placement’s specification, checked frame-relevant details included.
THE FASHION STANDARD
Graded by a studio
that lives in stills color.
Fabric tells the truth
A red dress must stay the same red in the film, the stills and the customer’s hands. Product color accuracy outranks fashionable filters.
Skin is protected
Models’ skin tones are graded as deliberately as garments — no look is worth a face that reads wrong.
Stills and film agree
Because the same studio retouches your photography, the grade targets your actual campaign images — not a guess at them.
OUR PROCESS
Corrected first,
beautiful second.
Footage & reference review
Your footage, stills and references assessed together; the grade direction proposed against real frames.
Correction pass
Every shot balanced and matched — exposure, white balance, consistency — before any creative look is applied.
Creative grade
The campaign look built and refined with you on representative sequences, then applied across the film.
Finishing & delivery
Final checks, finishing touches and masters delivered to each placement’s specification.
CONNECTED FINISH
Grading inside
the full post pipeline.
Edited, then graded
Grading slots into our editing workflow, so structure is locked before color is finished — never the other way round.
Composited, then unified
VFX and composite shots are graded as part of the same pass, so inserted elements inherit the film’s light and palette.
Yes — matching is the core of finishing. Send your retouched stills or a reference video and the grade is built against them shot by shot, so skin, fabric and product color agree across your whole campaign.
It is the preferred starting point. LOG and RAW footage gives the grade the most room; already-graded or heavily compressed footage can still be finished, and we will tell you honestly what ceiling it sets before work begins.
Both. Finishing includes exposure and white-balance correction, shot-to-shot consistency, skin-tone protection and product-color accuracy — then the creative look is built on that corrected base, never used to hide problems.
Mixed lighting is one of the most common finishing jobs. Shots are balanced individually so a sequence cut between locations or light sources still feels like one film, within the limits of the source footage — which we assess and report before grading.
The graded master to the agreed specification, plus the placement versions you commissioned. If you need the grade applied to future footage from the same shoot, tell us at brief stage so the look is built to be re-applied consistently.
FOOTAGE THAT DOESN’T LOOK LIKE YOUR BRAND YET?
Send a clip and a reference.
Your stills or a film you love — we will assess the footage and scope the grade honestly.