Color Correction
The color grade can take a show from an average look to that of a high end budget. I grade every cut so the piece holds a consistent look: skin that reads true is only the beginning. To be sure, some of the brands I've worked with sold skincare, so the color had skin in the game from the first frame. After that, my goal has always been to bring a film like color response to broadcast and digital.
Skin in the game
Color correction is the pass where a shoot stops looking like footage and starts looking like it meant to (or even better!). A camera records what was there. The grade decides what it felt like: highlights that roll off, blacks that keep their detail, and a palette that belongs to the piece.
LYCRA followed a fashion photographer from world travel to a working set, so the footage had to be accurate like a documentary and pop like a fashion magazine, both at once. L.A. Fashion Week was about the makeup, so the grade had one job: keep every shade true to the brand. On MGMT the interviews were keyed off green screen onto plates of the winding floor, and the grade is what makes a keyed face sit in the room. On Spotlight Awards an oboe finalist went from the practice room to The Music Center stage, and the grade carried him through two kinds of light as one story.
That is what a film like response means in practice: rich in color, depth with contrast and keep some air, but not fog.