<span class=normal> A concoction of the directors vision, the film content and my creativity <br><br> <br><p class=clear>&nbsp;</p>The key in being a colourist is to enhance the image by the tools of the machine and to garner a picture that fits well to the subject of the film; the focus has to be on the content of the film. The job is complete with the support and vision of the director, one of the most challenging and intriguing part of colour grading is in creating the desired. Therefore my focal point for delivering a project consists of, a concoction of the directors vision, the film content and my creativity. I always listen to the script from a directors perspective and then work on it as needed. I look at the footage and use my imagination to try and deliver more than whats expected out of it. My clients love the idea that I prepare around six or seven options to look at, this gives them a wider perspective for them to choose and finalise on the look and feel of the movie. <br><br> <br><p class=clear>&nbsp;</p> Colour grading for a movie is much different since they are in a longer format as compared to commercials <br><br><br><p class=clear>&nbsp;</p>There is a huge difference from colouring feature films and commercials. Television commercials are in a smaller format as compared to films. In a day I get to colour grade around three films where every advertisement has a different look, emotion and theme. The days journey excites me and in fact I find it very challenging to move from various TVC projects with so many disparities between them. Where-in colour grading for a movie is much different since they are in a longer format as compared to commercials, movie projects dont give a larger scope in using your own creativity to change the colours and experimenting with it. </span>