GIUSEPPE DI LECCE · REMOTE COLORIST

Remote grading for commercials,
films and music videos.

Recent showreel

0:00 / 0:00

Results and reviews

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.

About • Giuseppe Di Lecce

Delivery you can trust.

Picture lock is where projects either stay calm or start slipping. Here’s what you can expect when we work together.

  • Speed Predictable turnaround, clear milestones, no last-minute panic. Predictable turnaround. Clear milestones. No last-minute panic.
  • Continuity Shot matching and sequence flow locked early, before approvals begin. Matching and sequence flow locked early. No end-of-project patching.
  • Collab Calm communication, focused notes, and approvals that move forward. Fast replies, focused notes, approvals that move forward.

Recent work spans commercials, music videos and narrative shorts for international teams, including brands like Tamron, Lexus, Harmont & Blaine, Ralph Lauren, Baller League, Vevo, plus festival-selected shorts.

Request availability Send your brief, references and timeline. I’ll confirm if I can take it on within 24 hours. Send brief, references and deadline. I reply within 24 hours.