Grade Workflow
I have been writing down my thoughts on the colour grade workflow for my company and I wanted to share it with you. I would appreciate any and all feedback 
7 min read
There are multiple colour grade workflows for VFX. From the initial acquisition to the final composite, preserving the integrity of the original footage is paramount. When seamlessly blending live-action footage with CG elements, it is essential to work with the highest quality and widest dynamic range possible.
Every job is unique, and schedules are often dictated by the availability of people for the grading process. Sometimes, budget constraints limit the available time, and not every job necessitates the utilization of the very best or most expensive options.
However, in this document, I aim to provide a comprehensive list of the optimal options as well as alternative approaches for our grade workflow.
Grade at the Start
Television commercials were traditionally graded at the start of the VFX process due to the telecine method of transferring film negatives to video. Due to the cost associated with telecine bookings, the grading process for television commercials was often conducted simultaneously with the film scan. This early grading allowed for the establishment of the desired visual style. It also provided clients with a clear representation of the commercial’s aesthetic, aiding decision-making and reducing the need for significant revisions. However, with advancements in digital workflows and editing systems, grading practices in commercials have evolved, and current industry approaches may differ.
Grade at the End
Grading at the end of the VFX process ensures the preservation of the wide dynamic range present in the original camera footage, which remains accessible to all stages of the VFX pipeline. This approach eliminates the need for the CG lighter or compositor to handle any creative tweaks that may be applied during the grading process. By maintaining the ungraded footage until the final stages, the CG lighter and compositor can work with the raw, unaltered material, ensuring consistency and avoiding potential conflicts between the graded footage and CG elements. This allows for greater flexibility and control in achieving the desired visual aesthetics during the VFX workflow.
Parallel workflow
In a parallel workflow both the grade and VFX can move along independently of one another, at the same time. Depending on the amount of VFX, fully CG shots or just small parts, dictates how much or how successful the early grade will be. There might be a need to revisit the comp shots again in the grade, once the work has progressed past a certain level. Lighting and comp should be almost final.
Working Ungraded does not mean everyone works on it flat
Working on ungraded footage doesn’t mean that your images will look terrible. Some people think of a low contrast flat image when they think of ungraded but this is just being looked at wrong. It needs to be converted using the camera log curve either in grade or using a non destructive LUT that can apply the grade temporarily to the output.
ungraded LogCv3 no LUT
ungraded LogCv3 with LUT
There are so many different ways that the grading workflow can be conducted. I mention a few of my favorites down below. They all have their advantages and disadvantages in terms of maintaining quality or being time consuming.
Setting a look with the DOP before the shoot
Initial LUT chosen before the shoot
The Director and DOP discuss film objectives and style, with the DOP creating a shoot LUT applied to the camera viewer for an instant on-set look, but not to the footage itself, allowing flexibility for adjustments during the grade.
Balanced Grade at the start and viewing LUTs
Ungraded, balanced, LUTs, final grade at the end.
Ideally, we prefer to work with ungraded footage to maintain the widest dynamic range and avoid any stylistic vignettes or applied grading patches.
However, it can be beneficial to have the footage balanced, ensuring consistent exposure and colour temperature for similar shots.
Despite the best intentions, not everything goes according to plan during the shoot, and sometimes shots that need to be placed side by side in the edit may have significant differences in lighting. This becomes particularly crucial if these shots involve significant VFX, as their integration is smoother when they bear resemblance to each other. Additionally, we aim to avoid putting our CG or compositing team in a situation where they need to handle two drastically different lighting setups.
During the initial grade session, the client has the opportunity to collaborate with the colourist to develop a desired look, which can then be communicated to the VFX team in the form of a LUT (colour Look Up Table). This LUT serves as a temporary grade that can be easily applied to a VFX shot for consideration and evaluation.
Once the majority of the VFX work has been completed, a booking can be made for the final grade. The VFX work can still undergo minor tweaks as long as a significant portion of the shot has been completed, allowing the grade to proceed. It can be advantageous to conduct the final grade before reaching the very end stage, as this allows time for quality control of the grade. Any adjustments that were not accomplished during the initial grade can be addressed and rectified during this final stage.
Initial Look Grade to create viewing LUTs
Ungraded, LUTs, final grade at the end.
A shorter initial grade can be conducted with the client to establish a creative brief and develop a desired look for the grade. The primary focus is on generating a single viewing LUT or multiple LUTs for specific shots, which can be applied during the VFX process. This initial grade can also be shared with other clients for feedback, eliminating concerns about VFX beginning work on an unapproved grade. The VFX team will directly work on footage from the camera, without making any intermediate adjustments.
Once the majority of the VFX work has been completed, a booking can be made for the final grade. The VFX work can still undergo minor tweaks as long as a significant portion of the shot has been completed, allowing the grade to proceed. It can be advantageous to conduct the final grade before reaching the very end stage, as this allows time for quality control of the grade. Any adjustments that were not accomplished during the initial grade can be addressed and rectified during this final stage.
Grade upfront but VFX shots get a final tweak at the end
Graded non VFX shots, VFX ungraded with LUTs, final grade tweaks at the end.
The grade can be initiated at the beginning, but all VFX shots will be worked on using ungraded footage, with LUTs exported from the initial session. Some shots may pose challenges for grading without the completion of VFX work. Therefore, dedicated time is reserved towards the end of the process to allow for adjustments and fine-tuning of these shots once the majority of the VFX work has been completed.
The LUTs used during the VFX process may not provide a perfect recreation of the grade, and it is important to note that these shots can always be reprocessed through the grade for achieving a perfect match before a WiP presentation.
Grade entirely at the end
Ungraded, LUT, final grade at the end.
The grade and any time spent with the colorist are kept until the end of the project. The entire edit and all VFX shots are kept ungraded. A LUT serves as a temporary grade that can be easily applied to a VFX shot or the entire edit for consideration and evaluation.
The VFX work can still undergo minor tweaks as long as a significant portion of the shot has been completed, allowing the grading process to proceed. It can be advantageous to conduct the final grade before reaching the very end stage, as this allows time for quality control of the grade. Any adjustments that were not accomplished during the initial grade can be addressed and rectified during this final stage.
Grade upfront, VFX shots get run back through the Grade
Graded, VFX ungraded with LUTs, run back through the grade at the end.
The grading process can begin at the start, but all VFX shots will use ungraded footage along with LUTs derived from the initial session.
The final VFX shots will be run back through the grade setups.
Grading upfront without any allowance for final tweaks can be challenging for significant VFX shots. It’s difficult for the colourist to anticipate and grade scenes with blue screens or empty plates expecting large CG elements.
Grade upfront, VFX works on the Graded footage
VFX works on graded footage.
Working with graded material can pose challenges for VFX, as the grading process may introduce elements that do not naturally occur in photography. This can make it more difficult for the VFX team to seamlessly integrate their elements into the graded footage.
Also the grading process reduces the wide dynamic range captured by the camera, which can limit the flexibility in adjusting exposure and colour values during the VFX work.