Color correction of the original camera footage after picture lock—whether it is in a raw format (Arri Alexa, Sony Venice, Red, Blackmagic, etc.), in ProRes, or in a more compressed codec (Sony Alpha, Lumix, iPhone, Drone, GoPro, etc.).

I’m using a color managed workflow, to ensure to ensure that the desired look is achieved and carried through to the end, even when mixing different formats.

Tools used: DaVinci Resolve Studio

Basically any retouches and motion graphics that can be achieved in After Effects and other software tools.

This step is highly dependent on what is planned for each shot.

Sometimes it’s just retouching some elements, that couldn’t be fixed on set, sometimes it’s a more elaborate VFX concept to enhance the story.

I’m always happy figure out new ways of visual storytelling.

Tools used: Adobe After Effects, DaVinci Resolve Studio, Blender, Mocha Pro.

Everything comes together in the “online” phase.

The graded footage is matched with the offline edit. Adjustments in sizing (e.g. cropping) can be achieved better—and judged more accurately—with the original resolution. Graphic elements from simple titles to complex motion graphics are being combined with the footage. VFX shots are being integrated into the film and the final sound mixes (stereo / 7.1 / dolby / etc.) are being added.

Versioning often happens at this stage.

This step is also called finishing, as it is the last instance before the film or spot is being released. Therefore it is important to always work in the highest quality and always quality check throughout the online process and especially at the end.

The online editor creates the master of the film in a high quality format, so that it can be used to create future copies.