A 'trim pass' refers to the process of adapting the colour grade to a smaller colour space. For example, you might grade in HDR, then trim it down to P3 theatrical, and finally to Rec. 709.

When you're preparing your project's timeline for colour grading, it might be necessary to remove any speed variations or additional layers containing plate shots. This adaptation results in what we refer to as the 'grade timeline.' It's important to understand that this grade timeline often doesn't match perfectly with the 'offline' edit, which is the locked version of your edit. Specifically tailored for the colour grading stage, the grade timeline is optimised to enhance the visual quality of the final output, particularly within the context of short-form projects.

A 'show-LUT' (Look-Up Table) is a predefined set of colour adjustments used in filmmaking and post-production. It's specifically tailored for a particular film or television show to maintain a consistent visual style.

While regular LUTs might convert footage from one colour space to another or apply a certain visual aesthetic, a show-LUT is developed for the unique requirements and desired look of a particular project.

'Dailies' are processed from a days ‘camera rushes’. These dailies are transformed into formats optimal for review or the editing process. At day's end, it's these dailies that directors, camera teams, and other primary crew members watch to assess the footage.

Creating dailies often involves ensuring the correct colour management has been applied. Beyond this, adjustments can be made as per the teams request by a dedicated ‘dailies colourist’.

The D.I.T. or ‘dit’ for short, is an on set role. Their job is to ensure the digital neg is protected advising the DOP on data rate, exposure and colour management.

This is the process in which a timeline is transferred from one application into the next.

'Rushes' refer specifically to the unaltered camera originals.

‘Offline' editing refers to the initial phase of the editing process where a lower resolution or compressed version of the original footage is used to assemble the edit.

‘Negative' is a term used for captured camera files, which can be a traditional 'film negative' or, as is more common today, a 'digital negative'.

Metadata refers to the set of data that describes and gives information about other data within a video file. In filmmaking post-production, metadata can include details such as the camera settings (like aperture, shutter speed, and ISO), timecode, reel names, lens information, and more.

Media management refers to the process of organising, tracking, and maintaining digital video files, audio assets, graphics, and other related media throughout the post-production workflow. Effective media management ensures a smooth and efficient post-production process, minimises the risk of lost or misplaced files, and preserves the integrity and quality of the media.

In digital cinematography, 'log' refers to a colour space specifically designed to maximise the dynamic range captured by the camera's sensor. By representing a broader range of luminance values, it allows for greater flexibility in post-production grading. The outcome in this log format appears grey and desaturated, with an intentionally low contrast to retain details in both shadows and highlights.

The term 'Offline eyes' refers to the phenomenon when people become accustomed to the colour of the offline edit and are reluctant to see the footage differently.

A Digital Intermediate (D.I.) refers to the digital process bridging production and final output, allowing filmmakers to adjust the image digitally rather than photochemically. In modern times, this term is still used when referring to the ‘finishing phase’ of the post-production process.

In the context of cinematography and imaging, the ‘shoulder’ refers to the upper portion of a film or digital camera's characteristic curve in Standard Dynamic Range (SDR) formats. It represents the transition from the brighter midtones into the highlights, where the response to light begins to plateau or level off.

In the context of cinematography and imaging, the ‘toe’ refers to the lower portion of a film or digital camera's characteristic curve, representing the transition from the darkest shades to slightly brighter shades in an image. When attempting to lift or brighten the ‘toe' too much in post-production, several challenges can arise…

A ‘quality check’ (often abbreviated as QC) in the context of film and video post-production is a comprehensive review process to ensure that the final output meets the desired technical and artistic standards.

A quality check is essential before finalising any project to ensure that the content is free from errors/issues that could detract from the viewing experience or fail to meet broadcast, cinema, or platform-specific requirements.

An ‘image sequence’ in the context of film and video post-production refers to a series of individual still images that, when played back in sequence, form a moving picture. Each image represents a single frame of video. Formats like TIFF or DPX are often used in high-end post-production workflows because they can preserve high-quality image data.

A 'confidence check' in the context of a conform for a colour grade refers to a thorough review process undertaken to ensure that the conformed sequence aligns perfectly with the original edit. It's a critical step to guarantee that all clips are in the correct order.

This one is simple, WIP stands for ‘work in progress’ meaning this is not considered a final version.