Freelance Colorist · Remote available
About
I have been working as a colorist since 2024. After several years in video editing, I discovered color grading, another essential aspect of post-production, which has become my second craft.
I trained mainly in the field: by filming my own images, exploring film photography to rediscover the sensitivity of light, and learning through numerous online resources, including Waqas Qazi's training.
Since then, I have graded short films, TV shows and web formats: from Pekin Express (M6+) to After Foot (RMC), along with films presented at the Nikon Festival.
I grade on DaVinci Resolve and master different workflows depending on the project's needs (ACES, Rec.709, DCI-P3…), as well as most cameras used in the industry: ARRI, RED, Panasonic, Sony, Blackmagic.
I bring both a technical and sensitive approach to the image, ensuring a render that stays true to the shooting intentions and the visual identity of the film.
Color grading for feature and short films on DaVinci Resolve, faithful to the shooting intentions and the visual identity of the film.
A strong visual identity for your commercials and music videos: creative looks, multi-camera consistency and delivery tailored to each platform.
Color grading for YouTube videos, documentaries and branded content. A cinematic or natural look for your web formats, with turnarounds that match your publishing schedule.
Wherever you are: secure file transfers. I work with clients across France and abroad.
Color grading is the post-production step that gives the image its final look: correcting exposure and white balance, matching shots together, then building a look that serves the story and the visual identity of the film.
Short and feature films, commercials, music videos, documentaries, TV shows and YouTube videos. Credits include Pekin Express (M6+), After Foot (RMC) and films presented at the Nikon Festival.
Yes. Most of my projects are graded remotely: files are exchanged through secure transfer links and feedback is given on review exports. I work with clients across France and abroad.
I grade on DaVinci Resolve and adapt the color pipeline to the project and its delivery: ACES, Rec.709, DCI-P3. I work with most cameras on the market: ARRI, RED, Sony, Panasonic, Blackmagic…
I prefer to receive a ProRes 4444 or ProRes 422 HQ export of the locked edit. If the edit was done in DaVinci Resolve, you can also send me the project with the camera files, on a drive or as a download via Smash, Dropbox or a similar service. We go over it together before the transfer.
Every project is quoted individually: the price depends on the running time, the number of shots, the level of work (simple matching or a strong creative look, masks, beauty work) and the deliverables. Send me the format, the running time and your delivery date to get a quote.
They depend on the length and complexity of the project. A YouTube video or a music video is usually quicker than a short film. Tell me your delivery date in your first message and I will quickly confirm whether the schedule works.
After a first pass, I send you a review export. You send your notes, shot by shot if needed, and I refine until the final version. The number of revision rounds is specified in the quote.
Deliverables are defined by the distribution: a high-quality master (for example ProRes), web versions optimized for YouTube and social media, or files ready for the next post-production steps.