Practical Color Grading for Real Projects
Color grading isn't just technical button-pushing. It's about understanding mood, story, and what your footage actually needs. We built this program around projects you'd see in the real world—not abstract theory that sounds good on paper but doesn't help when you're staring at a timeline.
You'll work with footage shot in different conditions. Some of it looks great straight out of camera. Some needs serious help. That's the reality. Our approach focuses on problem-solving techniques and building your eye for what actually works.
The program takes about eight months if you're putting in consistent hours. Some weeks you'll breeze through. Others, you'll want to rewatch certain sections. That's normal—everyone has different starting points.
What You'll Actually Learn
This isn't one of those programs where week one is "Introduction to Color" and you spend forever on basics. We get into actual grading fast because that's how you learn—by doing it, making mistakes, and fixing them.
Foundation Without the Fluff
Yes, you need to understand how color works technically. But we cover that while you're already grading footage. You'll learn about color spaces and gamma curves when it actually matters for the shot you're working on.
Tools and Workflows
We work primarily in DaVinci Resolve because it's industry-standard and free to start with. But the concepts transfer. If you end up using Premiere or Final Cut later, you'll understand what's happening under the hood.
- Matching shots that were filmed hours apart in changing light
- Fixing common problems like overexposed skies or muddy shadows
- Creating consistent looks across different camera footage
- Working with LOG profiles and understanding when to use them
- Building custom LUTs that actually save you time
- Understanding scopes and when to trust your eyes instead
The final months focus on speed. You'll grade full projects under time pressure because that's what freelance work looks like. Nobody cares if you can make one perfect shot—they need twenty decent ones by Thursday.
Trevor Caldwell
Documentary Colorist
I was grading by feel before this, which worked until it didn't. Learning the actual principles behind what makes a grade hold together changed everything. Now I can explain my choices to directors instead of just saying 'it looks better this way' and hoping they agree.