GIUSEPPE DI LECCE · REMOTE COLORIST

Remote grading for commercials,
branded content and music videos.

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Results and reviews

Christine W. Chen
Director
Spec commercial · short film · needed cohesive visual identity

Giuseppe brought clarity, momentum and true artistry to our projects when we needed it most.

Before working with Giuseppe, we were honestly under a lot of pressure. Our deadline was extremely tight, and the footage just wasn’t feeling cohesive visually. We knew what we wanted emotionally, but we weren’t quite landing on a unified look that matched the creative direction.

I worked with Giuseppe on two different projects. One project was for a spec commercial shot indoors and the other was for a short film all shot outdoors. Both required different techniques and Giuseppe really nailed everything, which is a testament to his skill.

From the moment we started collaborating, Giuseppe brought clarity and momentum to the process. He asked thoughtful questions about the comps we were aiming for, and after sharing a few reference frames, he quickly delivered multiple look options, each with subtle variations that showed how deeply he understood nuance. His attention to detail was remarkable, and it was clear he genuinely cares about the craft of color.

One highlight was watching his 30-minute breakdown of how he arrived at the final looks. It was not only informative but honestly inspiring.

When we saw the finished work, we felt relieved, excited and incredibly grateful. The project finally looked cohesive, intentional and elevated, exactly what we had been hoping for. It felt like our footage had finally been given the visual identity it deserved.

Working with Giuseppe was also just effortless. He was communicative, fast and consistently responsive. In fact, he was so on top of things that we occasionally felt guilty for not replying as quickly as he did. He even followed up when we were slow to respond, not to push, but because he genuinely cared about keeping us on schedule.

I would absolutely recommend Giuseppe to anyone who needs thoughtful, detail-driven color work, especially teams under a tight timeline or creatives who want a collaborator that treats the project with the same respect and care they do. I would happily work with him again and will be recommending him for future projects without hesitation.

Written by: Christine W. Chen, Director (projects: My Roommate Carrie, Beneath The Surface)

Stu McCardle
Director
Sports commercial · simple brief · elevated look

He took a simple brief and elevated it into something exceptional.

Giuseppe’s passion for colour is unmistakable. He took a simple brief and elevated it into something exceptional, approaching every frame with precision, taste, and a genuine love for the craft.

I was blown away by his focus and speed and have already booked him for my next project. On top of all that, he is a lovely guy.

Toby Romero
Director of Photography
Music video · "Never Even Met Her"

Giuseppe nailed the look almost instantly, across cameras, lenses and formats.

For this shoot we ran a pretty mixed setup, using the Ronin 4D, FX3 and a range of modern, vintage and specialty lenses. Because we needed a fast turnaround on the grade, we were looking for someone with a sharp eye who could jump in without much direction and still maintain a consistent look across multiple cameras and lens formats.

Giuseppe nailed it. He works fast, he’s precise and he took notes easily, though honestly, he didn’t need many. He got the look almost exactly where we wanted it right away.

Even working from opposite sides of the world, the collaboration felt effortless. He’d work while we slept, and we’d pick it up when he logged off, which created a really smooth rhythm.

If you’re looking for a colorist with great taste, the ability to adapt to references and a solid technical skillset, Giuseppe is your guy. He’s professional, budget-friendly and an absolute pleasure to work with.

I’m looking forward to the next project together.

Kolter Bouchard
Producer
National charity spot · remote collaboration

He was 10/10 professional on a national charity project.

Worked with Giuseppe on a recent project for a national charity and he was 10/10 professional. Great work, great attitude.

I would happily collaborate with him again.

Nicolas Danoviz
Director
5-minute horror short · 3-day deadline · zero panic

Even with the time difference he was always available for notes, so we never felt like we were running out of time.

We shot a 5-minute short film for the Jakob Owens Horror Contest 2025, and after picture lock we had just 3 days to submit. We needed a colorist who could move fast. Our gaffer, Luis, recommended Giuseppe. The hardest part was moving big files from Los Angeles to Europe, which took about a day.

Once he had the footage, drafts came quickly. Even with the time difference he was always available for notes, so we never felt like we were running out of time.

He took our mood board and brought it to life. The result felt like what we had in mind: the right mix of creepy and mysterious.

I would recommend him to anyone, even on last-minute jobs, and to any team with a clear mood board.

Tyler Tramonte
Director
Music video · strong cinematography · needed the right grade

The cinematography was great, it just needed a good color grade to pop, and Giuseppe delivered.

Before working with Giuseppe the color grade did not look good and the video was just sitting in the vault. The cinematography in the video was strong, it simply needed the right grade to bring it to life.

During our collaboration Giuseppe was able to bring the vision I had to life and deliver beautiful results. He was easy to work with, took notes well and pivoted when necessary.

Once the final cut was complete I was super excited and happy with the result. The project finally looked the way it always should have.

I would definitely recommend his service to anyone in need of a colorist, whether directors, artists or brands. He is really talented and a nice guy who is easy to work with.

Ola Bielen
Director
48 Hour Film Project · Best Color Grading nomination

Our 48 Hour Film Project short was nominated for Best Color Grading at the festival, and working with Giuseppe felt effortless.

Giuseppe is not only incredibly warm but also exceptionally skilled at his work. Collaborating with him was a pleasure.

He quickly grasped my artistic vision and brought out the beauty of our locations and lighting perfectly. His efficiency was also impressive: during the 48 Hour Film Project he delivered the final grade at a surprisingly quick pace.

The grade went on to be nominated for Best Color Grading at the festival, which felt like a huge validation of the work we did together.

I would wholeheartedly recommend Giuseppe to any filmmaker looking for a stunning, thoughtful grade for their film.

Giel Roggeveen
Director of Photography
Short film · DP collaboration · intuitive process

I could just share what I was thinking and he knew exactly how to translate it into the image.

I really liked that I could simply share what I was thinking and Giuseppe knew exactly how to translate it into the image.

He added his own technical expertise and creative insight on top, which made the final look feel very considered and in line with the story we were telling.

Melo Griffith
Director
Agency short film · tight budget · narrow window

His colour work truly brought the project to life and the result turned out way better than expected.

We did not have a professional colour house and there was a pretty narrow window for turnaround. We were also on quite a tight budget to accomplish this project.

Giuseppe was able to deliver a unique colour grade and correction for our creative agency short film. This was my first short developed professionally and his colour work truly brought the project to life.

Seeing the final product and hearing all the feedback from our internal review, I was very content and impressed. The final result turned out way better than expected.

I think this work was exceptional. Even after the internal premiere, other creatives within the agency were interested to hear more about Giuseppe. I would absolutely recommend him, especially for creative agencies or productions looking for a professional, distinctive grade on a tight schedule or budget.

George Parsons
Videographer
Social media branded content · short deadline · tricky outdoor light

The results were fantastic, exactly what we needed, and they were approved on the first render.

The challenge on this project was a very short deadline to get the final edit out, as well as footage that was not ideal due to outdoor weather and very limited time to capture the talent in kits.

Giuseppe stepped in to help with the colour grading, which was proving difficult because we needed specific details of the shirts to show clearly. This took a lot of pressure off us, knowing that he has been a very valuable asset in the past and has delivered high quality grades for us.

The results were fantastic, exactly what we needed and within the short deadline we asked for. The work was approved by talent and by the creative director within the first render.

I would recommend Giuseppe’s services very highly. His availability, communication and willingness to get the job done make him a real pleasure to work with. I look forward to counting on him again in the future.

Julia Chase
Director
Music video · "Never Even Met Her"

Giuseppe understood my vision instantly and made the whole process simple.

Giuseppe was so wonderful to work with. He jumped in last minute, made everything simple and delivered every draft and revision quickly.

His work was excellent, and he fully understood my vision from start to finish.

Matthew Levin
Director of Photography
Short film · needed a dedicated colorist

After the work, the results made me feel very confident in our film.

Before working with Giuseppe I was planning to handle all of the color myself, even though I am not an experienced colorist.

Giuseppe was very easy to work with. His videos explaining what he was doing were digestible, he replied quickly and he took direction very well.

After the work, the results made me feel very confident in our film. Giuseppe’s instincts, as well as his attention to direction, were right on.

I would recommend Giuseppe to anyone looking for a colorist for short films, music videos or any other type of narrative work.

How we'll work together

Clear, calm and fast from brief to master.

In three steps we go from your cut and references to a master you can safely deliver, without last-minute panic.

  1. 1
    Phase 1

    Before we start

    Align and quote

    • You send the cut, deadline and a few references.
    • I check the schedule and ask only the questions that matter.
    • You receive a written quote with format, revisions, delivery and deposit.

    Most projects start very simply: you send me the cut, the deadline and a few references. From there I check if the schedule is realistic and come back with questions only where it really matters.

    We keep it light. If the project is straightforward we stay on email or chat. If it is a bigger job or something more ambitious, we can jump on a short call with you or the DP to align on intent, camera choices and deliverables.

    You always get a written quote that includes:

    • format and resolution of the masters
    • how many revisions are included
    • the agreed delivery window
    • a 30% deposit to lock the booking

    Clients often tell me they feel heard at this stage. I listen carefully, follow the brief and then come back with something that still feels elevated and alive, not just "technically correct".

    On selected projects I also record a short DaVinci Resolve breakdown of the look development. It lets you see how the image is built and often becomes the starting point for a creative conversation.

  2. 2
    Phase 2

    While I Grade

    Build the look

    • You send a ProRes 4444 XQ master in log plus an EDL if available.
    • I match the cut, shape light and build the creative look scene by scene.
    • We review in Frame.io or live, with clear notes and revisions included.

    You send a ProRes 4444 XQ master in log (plus an EDL if available). I set the project in DaVinci Wide Gamut and handle the transforms to Rec.709, usually Gamma 2.2 for web deliveries or 2.4 when needed.

    From there I work in three clear passes:

    Match and correct

    I choose a hero shot and bring the whole cut to a clean, consistent base. Anything that needs to be neutralized gets corrected, anything that was an intentional choice from the DP stays.

    Shape the image

    Shot by shot I use power windows and qualifiers to shape light and depth in a controlled way, not randomly. This is where skin, faces and key story beats start to feel crafted rather than just "graded".

    Look development by scene

    Scenes are grouped so each setup shares the same DNA. I build the creative look at group level, so if we need to push or pull a scene later it happens fast and coherently across every shot.

    I usually do the first two passes before asking for feedback. Once the creative look is in place, you either receive:

    • a full first pass of the cut, or
    • stills with a few variations per key scene, so we can decide together which direction fits your project best.

    Feedback normally happens in Frame.io with time stamped notes. For larger or more sensitive projects we can also schedule a live remote grading session using DaVinci Remote Monitor, so you see the grade on your screen while we adjust in real time.

    Three rounds of revisions are always included, but most jobs land in zero or one. The more specific your notes are, the faster we get to the version you want. Vague or conflicting notes are always turned into a clear conversation before I touch the timeline.

    In tight deadlines or "panic" situations I stay very close: fast responses, frequent check ins and late nights if needed. The idea is simple: you should never feel like you are running out of time alone.

  3. 3
    Phase 3

    Delivery and after

    Masters, LUTs and pickups

    • I export ProRes masters plus web encodes when required.
    • Optional LUTs, node trees and stills to document the look.
    • I remain reachable for pickups and next projects.

    Once picture is approved I prepare the masters. You get ProRes 4444 XQ or 422 HQ files, plus web encodes if needed. Exports are always checked for safe levels, blown highlights and banding before leaving the suite.

    If needed I also deliver LUTs and node trees, plus a few behind the scenes screenshots of the grade. These often come in handy for both the director and the DP, and sometimes they even become education material for film schools down the line on the right projects.

    On specific jobs I also supply Frame.io stills with each scene's look and exposure, which makes it easier to match future pickups or campaigns to the look we established together.

    After the project I stay easily reachable. When your next film, video or campaign goes into pre production, you can always send me the script, the treatment or simply a few frame grabs you love from other films, and we can use it as the starting point of your next look.

Impact on your project

What my grades actually change for your project

Once we run through this three step flow together, directors usually tell me they feel a few big shifts: less risk, calmer deadlines, and films that feel bigger than the budget. Here is what that looks like in practice.

  • You ship on time without chaos. I keep the grade moving, keep notes organised, and make sure delivery never becomes the bottleneck.
  • Festival and campaign deadlines stop being a gamble. I jump into the project, clean the footage, build the look and deliver the master on the date we agree on.
  • You get one person obsessed with continuity. Shot matching, skin tones and contrast are locked before QC, not patched in a rush at the end.
  • No weird jumps between sequences. Power windows and qualifiers on every shot keep each scene consistent and easy to watch.
  • You have a partner, not a vendor. I flag unrealistic notes, suggest options, and protect both story and schedule when things change.
  • You never feel alone in post. Fast responses, clear exports and versions you can safely show to directors, clients and agencies.
About • Giuseppe Di Lecce

I’m Giuseppe, a remote colorist helping directors ship stronger pictures, fast.

If you are staring at picture lock with a real deadline and real money on the line, my job is to make the image feel bigger than the budget without adding stress to the process. I build every grade in three passes: first I clean and match exposure and color, then I shape the light with precise masks and qualifiers, and finally I design the look scene by scene so the whole film feels coherent and intentional.

Clients usually come to me for two reasons: they need someone fast who actually listens. I’m quick to respond, clear on notes and I stay close until the master is approved, whether we work via Frame.io comments or live remote sessions. You always know what stage the grade is at, what I’m doing next and when you’ll see the next version.

What you can expect working with me:

  • Reliable speed on tight turnarounds, from 48-hour film races to campaigns with fixed launch dates.
  • Thoughtful look design that respects your intent, from clean commercial contrast to moodier, filmic palettes.
  • Calm, precise communication so revisions are focused, realistic and easy to sign off.

Recent projects include work for brands like Tamron, Lexus, Harmont & Blaine, Ralph Lauren, Baller League, Vevo, plus festival-selected shorts and 48-hour projects awarded specifically for their color.

If you have a paid project in hand and a deadline coming up, send me your brief, references and delivery date. I’ll let you know within 24 hours if I can take it on and when you’ll have the first pass.