Yes, when grading a long series (10 episodes) with two DoPs and four directors it's important to have consistency and yet allow for some stylistic differences. It was also important that while maintaining the "look" of the show, we would subtly change the contrast, saturation and colour of any rooms that we returned to multiple times so that we could keep the viewing experience fresh.

The main challenge for Baby Driver was the number of shots in extremely varied light (chase scenes shot over many days). It took me a week to complete a primary balance pass on my own. Usually this would only take three days.

Bill Pope DoP wanted a natural look and Edgar wanted some scenes to feel more graphic with various colours "popping out".

The film was graded in our largest theatre using a Barco projector. I grade viewing in XYZ colourspace, so made this the viewing colourspace. This way there can be no surprises when creating the DCP.

The conform was done in Baselight and multiple re-cuts were completed in Baselight also.

I always grade with the audio, (at least when with clients and particularly for full run through). This is vital as when viewing a movie mute it can appear darker as the audience are both straining to understand what's happening and also may look around the frame into a dark area and think they should be able to see detail there, when perhaps we had deliberately darkened it to focus the eye on the characters. In my experience it's worth approximately two printer points or a quarter of a stop if you don't have the audio on.

When grading unattended I might listen to music and usually create a playlist for each film. For ‘Ex Machina’ this was electronic based music from artists like Eat Lights Become Lights' ‘Modular Living’. For ‘Annihilation’ it's been Crosby Stills & Nash.

I've now graded two features and a TV pilot in HDR including Dolby Vision Theatrical. I love it. It's not only visually closer to the real world but offers a greater range of options for storytelling, but don't think it's a one button hit; it requires a very careful approach and plenty of time. Just because there's more detail in the highlights through a window doesn't mean you can leave this to be brighter; if your lead actor now appears darker in comparison you'll need to do more windowing work to balance the shot.

We have VFX pipeline and workflow meetings to discus colourspace, LUT supply and re-delivery. It does change with each project but we try not to reinvent the wheel.

Clients often remark that with Baselight, the colourist spends almost all of the time looking up at the screen rather than looking at their display or keyboard. Because of the Blackboard design and the number of shortcuts on the keyboard everything is at your fingertips and you never need to delve down through multiple menus - unlike some other grading platforms.

The clients also remark on how quickly their requests are delivered. For example you can create a defocused vinette in under five seconds and with the Baselight's gallery system and multiple cursor view you can compare shots from all reels of a film and copy a single component from one shot to another.

I now tend to be involved from script stage and often grade camera, lens, and make-up tests, also being asked to create looks for the films rather than simply balancing them. Baselight's evolution and FilmLight's support with new cameras and deliverables has been a great help speeding up what could otherwise have been costly and time consuming.

The scale and demands of modern productions coupled with often limited time to perfect onset lighting means we have to work extra hard to deliver a technically correct yet creatively distinctive project every time.

Garden! There's nothing quite like being amongst natural light and creating a visual feast in the real world. It's very zen!

I've loved ‘Fargo’ season two with its '70s palette. Beautifully graded.

I'm just completing ‘The Crown’ season two then a couple of top secret films that should be really interesting and visually stunning.