
colour grade
Neon Noir
Rain-slick streets and a city that only wakes up after dark. Magenta and cyan cut through the shadow, and everything else stays in it.
Trumbone style looks
Same scene, same person, same brief every time: she walks along a city street at dusk and turns toward camera. One sample per look, no retouching. Pick a look once and every scene in the project inherits it.
Same world, different light
These keep the shot photoreal and change how it is lit. The people, the place and the action stay exactly as written. Only the mood moves.
15 looks

colour grade
Rain-slick streets and a city that only wakes up after dark. Magenta and cyan cut through the shadow, and everything else stays in it.

colour grade
The last twenty minutes of daylight, stretched. Honey light, soft flare, and a warmth that makes everyone look like they are remembering something good.

colour grade
No colour, no mercy. One hard key light, shadows with edges you could cut yourself on, and grain like silver.

colour grade
Lilac, mint and peach lit like a daydream. Overexposed, milky and soft enough to fall asleep in.

colour grade
Cold concrete under flat overcast light. Shot like nobody was trying to make it pretty.

colour grade
Faded orange and mustard, light bleeding around every highlight. Looks like it came out of a shoebox.

colour grade
The modern blockbuster grade. Cold shadows, warm faces, glossy and expensive.

colour grade
Turquoise, lime and hot coral under a hard midday sun. Every colour turned all the way up.

colour grade
Mostly darkness, with small pools of warm light doing all the work. Intimate and slightly conspiratorial.

colour grade
Bright, airy and nowhere to hide. The light a product gets photographed in.

colour grade
Tracking bands, smeared colour and blown highlights. A tape rewound one time too many.

colour grade
Sun-bleached ochre and pale sand, the sky washed to nothing, air shimmering off the ground.

colour grade
Everything drained to blue-grey and white. Flat light, cold haze, and breath you can see.

colour grade
Deep teal with god rays coming from somewhere above and particles drifting past the lens.

colour grade
Barely a grade at all. Honest daylight and honest skin, like someone simply happened to be filming.
Same story, different material
These change what the scene is made of. Nothing in frame stays photographic: the characters are drawn, sculpted, knitted or painted along with everything around them.
7 looks

render medium
Hand-painted animation. Inked outlines, flat cel shadows and luminous skies. Drawn, never photographed.

render medium
Heavy brush linework, halftone dots and flat spot colour on newsprint. A panel, not a frame.

render medium
The family-film look. Big expressive eyes, soft geometry and warm cinematic light on a stylised world.

render medium
Plasticine puppets with the thumbprints still in them, lit like a miniature set. Charmingly handmade.

render medium
Gouache and coloured pencil on paper you can see the tooth of. Gentle, muted and hand-drawn.

render medium
A world crocheted out of wool, where everyone is a stuffed doll with stitched seams and an embroidered face.

render medium
Loaded brush strokes, impasto ridges and canvas weave showing through. Painterly edges instead of focus.
Same moment, different century
Neither a grade nor a material. A world sets the production design of everything in shot, so the costumes, props, signage and light sources all belong somewhere else.
2 looks

world
Brass, rivets and pressure gauges. Victorian tailoring, gaslight glow and steam drifting through every shot.

world
The same place and the same moment, advanced a hundred years. New architecture, new vehicles, new light.
All twenty-four are live in the style picker on every project. Choosing at the start costs nothing. Switching later means regenerating scenes you already paid for.