While it’s easy to do this work on stills, it’s often challenging to make these corrections on film where everything is in motion across many frames. My proudest moments are when people don’t even realize there were any issues, to begin with. It usually involves solving tricky problems with moving shots on gradient backgrounds, shifting camera focus, tracking things going in and out of the frame, working with painstaking rotoscoping, tracking and masks. Many of these same techniques carry over into my work with motion graphics, color correction and titles work well.