The Dark Art of Light


Delivering broadcast standards and quality to the highest specifications, while offering affordable solutions to lower budget projects.




Working in colour spaces Rec.709, P3 or sRGB with optional gamma settings of linear or log; raw settings or ACES. Ensuring the best possible quality for your required deliverables.



A fully calibrated, colour accurate display (96% P3 and 98% Rec.709 - HPZ24X with colorimeter and calibration software) for scene referred / lifelike imagery. External software scopes for further accuracy in monitoring.



Optional custom built Mac Pro based system, or similar PC based system (Intel i7 and latest build components, with 8GBytes GPU. DaVinci Resolve - Full studio system with 20+TBytes of storage and a work surface for speed and accuracy.



Either 8-10bit documentary style camera files (Pro res flavours or DNxHD flavours); or 12-16bit cinematic style raw files (Raw files .R3D, .ari, .DNG) or whatever you or your project prefers / requires.



A room that has been specifically designed and calibrated using 18% reflectance grey paint with textured surfaces. D65 (6500 Kelvin) back light and specific ambient brightness depending on the project (e.g. for broadcast TV a 15% ambient brightness compared to the monitors highlights).



Advice on workflows. Media managed projects, transcoded exports and scene cut detection, or original camera file conforming. Avid .AAF's, Final Cut Pro .XML's, Premiere XML's or EDL's. choosing quality of image over speed of delivery.


Click on the images below for showreels and colourist related video - enjoy!



What to do now?

There is no right or wrong way to approach a colour grading session, but there are good and bad ways and ideals for best practice. There are also about as many different routes to your ideal workflow as there are projects out there. Your chosen workflow will be as dependent on your particular circumstances as anything else.

The best thing to do is call me up for a chat or drop me a line so I can give you some pointers for getting started

We can discuss:

1. The type of program / film / video you are making

2. The look and style you want to create

3. The type of footage you have

4. Your deadlines

5. The best way to approach the grade

6. The ideal workflow for your situation

5. ...and finally... your budget

To give you an idea of a starting point - the potential cost of a grade could be around £300 - £400 per day. Depending on the type of edit and type of material. A day could grade between 30 and 60 minutes, again depending on how many shots in your edit and how much work may need doing to fix certain issues.

To some this will sound like a cheap option - I want to assure you there will be no compromise on quality because of this - I can offer this rate because I have set up my own studio with very low over heads. To others this may sound impossible to afford. Please don't be put off, there are options - and without discussing them you will never know! I am here to help.

I can offer part days and could even grade by the hour for smaller projects. If you are a low to no budget project, please contact me and we can discuss what might be possible. For the right cause and for an interesting project there could be very reasonable deals.

If you have a project you would like to discuss please use the section below to contact me, or use the links to my social media on this site.

Personal Info

  •   +44 (o)7794496588
  •   Bristol BS7 9NF
  •   darkartoflight"at"


Chris had a natural understanding of what was required for our project. Offering suggestions and stylistic choices that made perfect sense for our feature documentary, but, importantly when we required changes he was more than happy to follow my direction. Chris went the extra mile to ensure the XML workflow was frame accurate, and he sent plenty of test shots and clips to ensure we were happy with the development. He hit all our deadlines and I was particularly pleased with the quality and the overall look of the grade. I would not hesitate to recommend Chris.

David Barnes -

Director - Elvis and Dai
Chris took on a fairly large production for us at short notice. He took on both the technical delivery in terms of legalisation for broadcast, and the creative grade (working with films at 59 when we ended the additional technology for framerate conversions etc). He worked hard with us to make sure we had the workflow that retained our image quality as far as possible, and we had the added value of taking his advice for camera settings on our final shoot. Because of his suggestions, he really felt like he was on our side and part of the team. I have worked with Chris on 2 of my recent projects and would be more than happy to work with Chris again should the opportunity arise.

Borja Cantera -

Director - GTAcademy - F1 Academy
Chris really took this grade to heart. He created looks that not only complimented the DP’s vision but really helped to interpret the story in new ways. Subtle changes to colours that shifted the feel of an image and local contrast shifts that guided the eye exactly where it was needed. Not only did he add this creative edge but he also took on the additional work of interpreting the computer graphics colour spaces and ensuring there was seamless integration of the VFX digital images and the 16mm film transfers. The value that he added to our project was tangible.

Freya Billington -

Director - Not Waving


Please contact me for more information on what I can do to help. I'm looking forward to hearing from you!


"Out of respect for the craft; It has taken me many years and lots of successful projects to be able to consider myself - a colourist"

I have trained at: 
The international Colourist Society ICA (on 3 courses), Pinewood Studios, Soho Editors, Panavision, Visual Impact and Bristol Film School.
I have worked on: 
Short Promos, Music Videos, Short Films, Public Sector Videos, Independent Feature length Drama, Independent Feature Length Documentary and a number of broadcast TV series.
I have taught at:
University of Bristol, University of Gloucestershire and helped students from The University of the West of England.

The Dark Art of Light & Colour