YL: It is very interesting to observe how people use colour differently in different cities. One thing I noticed since I moved to London is that people tend to be less obsessed with blue sky.

YL: I have been pretty lucky to have opportunities to work with very talented and passionate people. It takes time to build relationships with your clients and once you understand each other well, it makes the whole process a lot easier. I was lucky to have regular clients who let me be a part of their projects.

YL: Obviously if they are well lit and shot in the way they are intended to look, its easier to grade. But I feel most of the time, grading is more about communicating. Colour is such a subjective thing, you never know if the other person is seeing what you’re seeing, so it’s easier to grade with clients who I can communicate with well.

I personally enjoy any project that allows me to give my input, and push myself further. I like working with people who have aesthetically similar views, too.

YL: I recently graded a Depeche Mode music video directed by Anton Corbijn. It was black and white, and I totally enjoyed working with Anton who has a great vision as a director and photographer.

We also recently graded a Cadbury Christmas campaign. There were so many versions with a quick turnaround, and using Baselight was beneficial to help us meet the deadline.

GP: To be honest we were driven by the market. We had another solution available previously, but clients were more interested in Baselight as the grading system of choice. It is powerful, stable and can handle pretty much anything we throw at it.

GP: The strength of our appeal to clients is that we can offer end-to-end finishing, from the edit right through to delivery. They like the speed and flexibility of the system as well. They love that it can handle all of the latest camera formats and codecs. They also love the reliability - there is so little down-time. Upgrades are easy to install and if we do ever have a problem, support is able to get things sorted really quickly and easily.

GP: From my experience, I have seen how post houses are often brought in before production even begins. Of course, this is usually when the treatment has a post-heavy approach, but our clients often feel more comfortable moving into production with us alongside to help make sure that the post pipeline will work within the allotted schedule.

Offering VFX shoot supervision is a great way for us to estimate the work needed and also means we can offer our clients advice on the best way to shoot, so it helps us to creatively guide them to the best way to achieve the desired results.

One thing that I am grateful for is having Baselight involved in the workflow, because I know that despite the multiple different formats that we might be supplied with, when we get the graded footage through to conform and work with, it will all be in the format and colour space that we need.

GP: The secret is to get involved with as many different projects as possible. If you keep that variety going you’ll keep learning and developing. No two projects are the same so there’s always something new to deal with. If you have commercials, episodic TV, film and branded content all working their way through that facility, then you will be coming up against new and interesting challenges every day. Keep your finger on the pulse!

YL: It’s hard to pick just one feature. To me, Baselight is by far the best grading system out of all the systems that I have used. To achieve the same thing, I can save a lot more time using Baselight with its great functions. Its good to not feel limited or compromised within limited time - especially with TVCs.

In general, you can push so much with Baselight without breaking the image. It’s very subtle and intuitive in enhancing colours. And tracking is superb.

YL: The environment has been changed massively since I started.

These days there are many ways that you can train yourself as a grader with accessible software. However, I would strongly recommend getting into post houses with any entry level position. It is very valuable to learn from experienced colourists, and you get to learn a lot while you assist.

YL: There are so many inspiring people around me. I get inspired by people who have great craftsmanship.

YL: The Kingdom (Lars von Trier), A Clockwork Orange, Seven, Happiness (Todd Solondz), Fargo, Memories of Murder, Nobody Knows.

YL: I find myself enjoying woodworking, going to galleries. Being away from television. Actually I haven’t had a TV for many years.

YL: It’s only been two months since I came to London. I am very excited to explore the city, meet new people, and enjoy myself working in Soho.