Brandon Jones
— Remote Colorist
Hey there,
I'm a Colorist by way of cinematography, by way of graphic design, by way of a few high school art classes.
I became a Colorist by accident, through pure association.
I always liked art. I could never really draw. Photoshop pulled me in. Hand-drawn illustration pushed me out. The work happened on a screen, or it didn't happen at all.
Cinematography became an extension of every graphic design class I'd taken in college. Composition. Color theory. Hierarchy. Same vocabulary, applied to moving images instead of static layouts. Time on-set taught me how DPs think, and in how they communicate with directors and crew. Boots-on-the-ground type stuff.
The Power of Post
On my own shoots, I started grading out of necessity. It pulled me back to my Photoshop roots — and made every on-set decision sharper.
Flag off a hot spot on set? Five minutes. Handle it in the grade? Fifteen seconds. Once we saw what post could absorb, decisions got faster. Budgets stretched further.
I learned to build my own custom LUTs and dial in every uncalibrated monitor rental. Directors, clients, and crew could see the final grade taking shape while cameras were still rolling. That visibility changed everything.
Color became a form of communication. DPs wanted consistency. Directors wanted confidence. Both wanted their footage to land where they'd imagined it — and that's the role I kept getting hired into.
Damn Good Photography
One line from a workshop years ago has stuck with me:
"The Secret of Hollywood" isn't a solid color grade or a coveted LUT. It's damn good photography.
A skilled DP captures everything a project needs — composition, exposure, intent. A Colorist pulls that information forward and aligns it with the Director's vision and their client's expectations.
Pair creative intent with a curated grade, and the result speaks for itself.
That's the work I'm here for.
