Finishing, formats & workflow – FAQ

01_FINAL is a good fit if you have a locked or near-locked cut and need professional finishing—color, graphics, or light VFX—to make the project feel intentional, cohesive, and release-ready. I specialize in finishing for indie filmmakers, YouTube creators, small studios, and brands that don’t need a full post house but still want professional color, graphics, and light VFX.

If you need full editing from raw footage, heavy CGI, or agency-style multi-team post, I may not be the right fit — but I can point you in the right direction.

Yes — I can grade log, RAW, and standard footage from cinema cameras, mirrorless hybrids, action cameras, drones, and smartphones. I use color management and shot matching to bring different formats and camera types into a consistent space before building the final look, so mixed-camera timelines still feel cohesive and intentional.

Making a video look cinematic involves many factors—lighting, lenses, composition, motion—but finishing and color grading play a major role in shaping the final feel. Through grading, we can use film emulation, softer highlight roll-off, specific color palettes, or simply a more refined, intentional look. I can work from film references or frames you like and create a consistent style for your channel or series. The goal is a grade that fits your footage and audience.

Both. I use high-quality templates when they make sense and customize them to your brand, pacing, and content. When you need something more tailored, I can design custom lower thirds, title cards, or simple animated sequences from scratch. Either way, the goal is for the graphics to feel integrated into your project, not like generic overlays.

Light VFX includes grounded, fix-it-style work such as removing logos, license plates, booms, stands, or other unwanted objects when the shot allows. It can also cover straightforward screen or sky replacements when there’s enough detail to track.

I don’t take on heavy CGI, character animation, or complex simulations. If you’re not sure whether a specific task fits into the light-VFX scope, just ask and we can quickly clarify what’s realistic for your footage and budget.

Yes. AI-generated video can be finished and graded just like any other source, and I can help it sit more naturally within your project. That usually means unifying color, adding texture or grain, smoothing minor artifacts when possible, and giving the footage a more intentional, less “generic AI” feel.

I can’t fix structural issues like warping or distorted motion, but I can elevate what you have so the AI shots blend more cleanly with live-action or traditionally shot material.

Yes — I handle basic audio cleanup and balancing. That includes improving dialogue clarity when possible, reducing light noise, and evening out overall levels for web playback.

If your project needs full sound design or a detailed mix, I recommend bringing in a dedicated mixer. I’m happy to collaborate with someone on your team or bring in a trusted colleague I work with regularly so the overall finish stays cohesive.

To start a project with 01_FINAL, send me a link to your current cut along with a short note about what you need—color, graphics, VFX polish, or a combination. I review the project, ask any important questions, and send a clear plan, quote, and timeline. Once approved, you upload your high-quality export or project materials and I take it from there.

Before I start finishing work on your video project, I need a link to your cut along with a few basic details about the project. A short description, any notes or problem areas, reference material if you have it, and your timeline or deadline. With that, I can give you an accurate scope and quote.

To prepare your timeline for finishing, there’s no need to overthink it—a clean, single export is usually enough. If sending a project file instead, keep the timeline tidy, minimize unnecessary nests, label temp graphics, and flag anything unusual in advance. If you need help, I’m happy to assist.

For finishing work, the best export format is a single high-quality file with no LUT baked in and no heavy adjustments.

Use: ProRes 422 or 422 HQ (or DNxHR HQX), 10-bit 4:2:2, at your timeline’s native resolution and frame rate. H.264/H.265 are acceptable if necessary, but higher-quality formats preserve more color and detail for grading.

If your project has mixed frame rates, I’ll choose the correct master frame rate for the final piece and handle all conforming inside DaVinci Resolve. You don’t need to pre-convert anything — just export at your native settings and I’ll handle the conversions.

You’ll see every stage of the finish before anything is finalized. I send review versions through whatever platform you prefer — Frame.io, Vimeo, Drive links, MASV, or simple file transfers. You leave notes directly on the video or send written feedback, and I update the grade, graphics, or VFX based on your notes.

Most projects follow a simple loop: review → feedback → revisions → final approval. Everything stays remote, organized, and easy to track.

Most projects include two rounds of revisions. The workflow usually looks like this:

• Initial finishing pass (color, graphics, and/or light VFX)
• One consolidated round of notes from you
• A final tweak pass to lock everything in

If a project clearly needs more iteration, we’ll define that up front so expectations stay clear.

Most projects receive two masters:

• A web-ready H.264 or H.265 file for YouTube, Vimeo, or client delivery
• A high-quality ProRes master for archiving or future re-conforms

If you have specific delivery specs—broadcast, festival, or platform requirements—I’ll match those as well.