Professional color grading from Dee Mount, Blackmagic certified and Dolby Vision certified colorist. Correction, grade, skin retouch, and HDR finishing for film, commercial, and documentary. The final polish that earns the rest of the work.
Watch the grade happen. Skin, light, and color, corrected frame by frame.
Color correction is not a filter. It is frame-by-frame work: balancing exposure, contrast, and white balance across the cut, and making sure the color space is true to the source and the intent. Every shot in the edit gets individual attention before the look is applied.
The color grade is the emotional layer. Where correction fixes problems, the grade builds the feeling. We design a look that serves the narrative, whether that is the cool precision of a commercial, the warmth of a documentary, or the specificity of a film that needs to look like a specific time and place.
The human face is the most forgiving thing to grade and the most unforgiving thing to get wrong. Every interview, every close-up, every moment a person is on screen gets individual attention: skin tone precision, texture preservation, and subtle beauty work that never reads as work. A frame where the person looks like their best self, every time they are on camera.
Dolby Vision is the HDR format that reaches cinema and premium streaming platforms. It expands the brightness, contrast, and color range beyond standard grading, and it requires a certified pass. If your film will premiere in cinema or on a platform that masters HDR, Dolby Vision is the finish that lets the cinematography reach its full potential.
A good cinematographer gives you the data: exposure latitude, color saturation, light that can be shaped in post. The colorist's job is to translate that data into the story. If you shot well, the grade is what makes the footage feel intentional instead of documentary.
In a 30-second spot, every frame counts. The color has to work at YouTube quality, broadcast quality, and cinema quality. It has to read on a phone at 25% brightness and on a billboard in daylight. Precision color grading is what makes that possible.
Sometimes the edit comes together from sources shot on different cameras, in different light, on different days. A professional color pass ties all of it together and makes the edit feel like one story instead of a compilation of footage.
If your film is going to reach a big screen or a premium streaming service, the color finish has to be built to spec. That means certified color space, certified Dolby Vision when required, and a master that can be delivered to multiple platforms without loss.
Dee Mount's color work is on screen in the Ring of Fire feature, a narrative film that premiered at film festivals and will air as a docuseries. His cinematography and color work is in a Harper's Bazaar editorial feature shot on location. Every video Mount Up Media ships carries his grade: correct, true to the source, and built for the format it reaches. You can browse the work at the links below.
Thirty minutes. We look at the edit, talk about the intent, and map what a professional color pass looks like for your project. No quote without the conversation.
