COLOR & FINISHING
Blue Suede Hues is a boutique color and finishing company local to Philadelphia and serving clients nationally. We specialize in color correction, color grading, and video finishing for film, television, and online content.
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We're artists first. The core of what we do is unifying the look and feel of your video through color, contrast, texture, and vibe. If you're ready to level up your color, drop us a line.
MATT MAHONEY
Founder & Lead Colorist
Matt is the founder and lead colorist at Blue Suede Hues. After a spending years as a commercial cinematographer, he found his place in the color suite and hasn't looked back. He brings a decade's worth of experience on film sets to every project, making him uniquely positioned as a colorist that knows both sides of the image.
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When he's not watching Formula 1 with his wife and two Shiba Inu's, he can be found struggling to write a bio in the 3rd person.
COLOR WORKFLOWS
Three ways to hand off projects to us. Each one offers it's own individual benefits.
CONFORM
FLAT
IN-BETWEEN
If you want to work with your raw footage, this is the preferred method. You media manage your project and send us a hard drive with the required media assets. We bring this into Resolve and rebuild (conform) your timeline. This method also allows us to supply handles, allowing you to fine tune the edit after color delivery. While this method does add a little bit of time, it does yield the absolute highest quality result.
This is a very common method of delivery to color. The editor pre-conforms the timeline by sending an un-graded file at the highest quality possible. ProRes 4444 and DNxHR are the most common file formats. It's crucial that all color, graphics, and transitions are removed from the flat file. Duplicating any clips that have transitions, adding the necessary handles, and adding to the end of the timeline is best practice.
This is a combination of raw media and supplied footage. As a production company or filmmaker you may want to take full advantage of the footage you capture in it's raw state. Within your project might be supplied archival footage for example, that doesn't require the raw workflow. The archival media may be delivered as a flat file for minor tweaks, while your footage retains it's full quality for grading.
