the ring shows the part of the picture under it as a vectorscope.
goes to the next frame.
opens the whole frame, then lands on another film of that colour.
offset, pull and saturation push the picture around, like on the panel. reset puts it back.
slide across the colour line to find films in the same tone
compare
drag along the film. the picture and its scopes follow. where there is a play button, the scopes run live.
Houmam Abdallah is a colorist whose career spans 15 years across London, Los Angeles, and now New York, where he grades at Electric Theatre Collective. A former director who reveled in experimenting to push quality and find ways to take the image further in color alone, he brings a filmmaker’s sensitivity to the suite. This perspective is backed by a deep technical foundation in VFX integration established at industry-leading houses, enabling a precise creative shorthand when bridging the gap between live-action and complex effects.
His craft has been recognized globally, having contributed to a Sundance-winning feature and receiving a Best Color Grading in a Music Video award. Houmam has also been a key contributor to projects earning multiple Gold Cannes Lions, with personal nominations across UKMVA, AICE, and Camerimage. Houmam navigates the balance between brand integrity and cinematic atmosphere for a premier client list including Louis Vuitton, Gucci, Versace, McLaren, VW, Adidas and Nike. Across every project, he treats color as a vital design layer: intentional, experimental, and consistently elevated to a new level.
Alongside the suite, Houmam builds his own tools, and they share one engine. His look development app carries it onto a phone: a picture is read against looks measured from his own films, then shaped by hand. On set, a live version puts the same controls in front of the DP and the DIT, so the look is found on the monitor while the scene is still lit. In DaVinci Resolve, his grading app runs that engine as the nodes of the grade itself.
Because all three speak the same language, nothing is rebuilt between them. A look sketched on a phone, or set on the day, opens in the suite as it was left, shot by shot, and the session starts where the shoot ended. The same engine sits behind the look development section of booking a job here, where a treatment still can be seen in the world of his work before a session is booked.
A camera app is coming soon: an iPhone camera built on the same color science, so that the picture in the viewfinder is the picture that is kept.
