16mm style grade

Behind The Curtain – 16mm Style Grade Part One

December 15, 2018

Dan shares the opening part to his full unfiltered look at how he graded a music video in a 16mm film style.


Unfiltered Start To Finish 16mm Style Grade

Due to incredible demand, I’ve jumped straight into recording a full fat behind the curtain on the 16mm Style Grade for Philipa Kitt.

I loved this job so I’m really happy to share it in all is gritty detail with you all.

If you’ve never watched these behind the curtain insights before they are longer than most and also cover every step of the way.

If you are looking for a concise fix to an issue or a particular method explained perfectly these are not for you.

If you are looking for an over the shoulder view of every step of the project including the pre-grading thoughts and annoyingly real-time fixes then these are exactly for you!

In this Insight I start at the very beginning of the grade and speak about :

My original grade that I didn’t go for after the client sent references over.

The reference images.

The camera format and why we went for a pre-conformed workflow even though it was shot on Red at 8k.

Starting the grade and finding the feel

Comments Please!

I’m always extra excited to hear comments on these Insights as I can make sure to cover any questions in the next part.


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Homepage Forums Behind The Curtain – 16mm Style Grade Part One

  • RAMI A

    thank you Dan interesting inside ,I would like to see more like this inside because it’s more close to real colorist world
    Happy grading

  • 567 Nurtas

    Incredible insight Dan! Thx! I would like to see part 2, with noisy footage and interior scenes grading…

  • Jose S

    Very cool insight.

    I don’t mind that you use the panel at all, the insight flows a lot better and you don’t spend time thiniking about shortcuts or stuff like that.

    I’m curious to know, you mentioned you don’t match to tightly at the beginning and leave that for the end. Do you work the same way when the clients in the room or is there some pressure when the client is there to match everything asap and as good as possible? I ask because I have that pressure when working with clients in the room.

  • Szymon Kraszewski

    Great insight, as always!

    I have a question about using groups and keying.

    In my opinion, it’s much easier to pull a decent key from an image that is not in a log/target color space (better color separation, more saturation and contrast etc.). In a workflow with LUT applied on Post-Clip you are forced to key from log footage. Do you use this kind of node structure for projects in which you know that you won’t be keying a lot or maybe you prefer to key on log footage? If so, please tell what are the advantages of that approach?



  • Michael Y

    Really enjoyed this.

  • Ross W

    Great insights thanks!

  • Myles G

    Loved it! Where did you get the film grain external matte?

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