Colour Grading
The Colour Your
Audience Remembers.
FilmLight Baselight with Blackboard Classic. The global standard for cinematic colour science.
Why It Matters
Colour Is Not a Technical Step. It Is a Creative Decision.
The grade is the difference between a film that moves and one that is merely watched. Every colour decision — from the shadows in an intimate conversation to the saturation of an action sequence — shapes how an audience feels before they consciously register it.
A wrong grade does not fail loudly. It fails quietly. Colours that do not hold. Skin tones that look processed. Highlights that clip where they should breathe. The viewer does not know why a film feels wrong. They only know that it does.
This is why the choice of facility, system, and colourist matters. It is not a vendor decision. It is a creative one.
The Trisha Approach
One Colourist. One Project. From Look Development Through Final QC.
One colourist leads every project from the first look through final output. No handoffs mid-grade. No junior colourist finishing the senior's work. The creative relationship between director, cinematographer, and colourist is preserved throughout.
HDR and SDR grades are completed in the same session on our Baselight system. We do not treat them as separate workflows — because they are not. They are two expressions of the same creative intent, and they must be held to the same standard simultaneously.
We work in your colour science, not ours. ACES, scene linear, log — whatever the pipeline requires. The grade serves the image. The image serves the story.
“The colour that matters lives in the decisions no one sees.”
Technology
FilmLight Baselight
The Reference Standard for Cinematic Colour.
FilmLight Baselight is the grading system of choice at the world's leading post-production facilities. Our Blackboard Classic control surface gives the colourist direct, tactile control over every parameter — the precision required to work at reference quality.
HDR and SDR mastering are completed simultaneously. Dolby Vision, HDR10, HLG and Rec.709 outputs are generated from the same grade session, eliminating the inconsistencies that arise when these are treated as separate finishing passes.
Specifications
- System
- FilmLight Baselight
- Control Surface
- Blackboard Classic
- Resolution
- 8K native
- Colour Science
- ACES · Scene Linear · Log
- HDR Outputs
- Dolby Vision · HDR10 · HLG
- SDR Outputs
- Rec.709 · P3
Workflow
A Grade That Follows the Image, Not a Process.
01
Ingest & Conform
Camera media is ingested at full resolution. The timeline is conformed frame-accurately before a single grade decision is made.
02
Look Development
Primary look is established in collaboration with the director and DP. LUT, CDL or Baselight scene referenced — whatever the project requires.
03
Colour Grade
Scene-by-scene, shot-by-shot. Primary and secondary corrections, keys, power windows and motion tracking — to the frame.
04
HDR & SDR Mastering
Both deliverables are completed in the same session. HDR headroom is not added — it is built into the grade from day one.
05
Client Review & Output
Screenings in our calibrated Preview Theatre. Final approval before output begins. Nothing is rendered until the director is satisfied.
Deliverables
Every Format the Market Requires.
Dolby Vision master
For streaming and theatrical
HDR10 master
For all HDR platforms
HLG master
For broadcast HDR
Rec.709 SDR master
For streaming and broadcast
DCP print master
For theatrical release
Broadcast master
SMPTE specification
Graded VFX plates
On request
Full QC report
Issued with every delivery
Begin Your Project
Your Grade Is Waiting.
Colour grading on FilmLight Baselight. HDR and SDR in the same session. Senior colourist, one project.
Trisha Studios Limited — Mumbai & Mohali