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Every chapter so far has built the image. This one changes what the image appears to have been recorded on. A grade is not decoration applied at the end; it is a claim about the medium — that this came off tape, or a press, or a tube, or a camera with a particular stock in it. Viewers read that claim instantly and they read it whether or not you meant it. Grading attaches to a single <img> or <video> through a data-color-grading payload. It never touches your text, your cards, or your captions — only the pixels of the media element it is on. The full contract lives in the Colour Grading guide; this chapter is about what to ask for, and about the three ways these prompts go wrong.

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The source has to have something to lose

This is the failure that costs the most time, and it is invisible in the prompt. Every one of these treatments works by removing something, so the shot must contain the thing being removed. Three worked examples from building this page, each of which produced a demo that technically executed and visibly taught nothing: Fixing all three meant changing the footage, not the payload. So specify the subject in the prompt, and specify it in terms of the property the effect consumes: “pick a subject with dense colour and dense edges”, “the surround has to carry colour, not be neutral grey”.

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The pipeline order is fixed

Sections apply in a set order regardless of how you write them:
This is not cosmetic. A global saturation: -0.9 in adjust runs before secondaries, so a hue-keyed selection that tries to hold one colour back finds it already desaturated and has nothing to restore. If you want one colour to survive a drain, key it in hueCurves rather than draining globally and painting it back.

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Grading qualifies by value, never by position

Selections key on hue, saturation, and luma. There are no masks, shapes, or tracked regions, and the one spatially-varying control — vignette — is locked to the frame centre. To treat part of a frame you split that part into its own layer and grade the layer. That pattern, with worked markup, is in Limiting a Grade to Part of the Frame.

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Separating subject from background

The most useful thing grading does is not a look. It is protecting one part of the frame while treating another — which requires a matte, and therefore two layers.

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Grade the room, protect the face

Take the talking-head clip and separate the subject from the room. Leave the person photographic — a gentle skin-softening pass and about a third of a stop of extra exposure, nothing that reads as an effect on skin. Grade the room behind them instead: across the four seconds bring up a halftone screen so the space resolves into small coloured dots, and let a restrained bloom build alongside it so the windows lift. Both start at zero so the shot opens ungraded.
Two traps here. Use the original clip as the background plate, not a subject-removed plate — that plate is a hole where the subject was, and a feathered cutout over it gives a dark rim. And if your cutout ships premultiplied alpha, the browser composites it as straight, multiplying edge pixels twice and producing a black outline; rebuild it with ffmpeg alphamerge from the original plus its matte.

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Redact only the face

Matte the subject off the plate, then redact just their face — the rest of them and the room behind both stay completely untouched. Hold pixelation constant at about half strength for the whole shot: no ramp, no fade-up. A redaction that animates on reads as an effect; one that is simply on reads as policy. Size the redaction generously so it takes in the hairline, ears and jaw rather than sitting tight on the features.
The region comes from a clip-path on a third layer — a second copy of the cutout carrying the grade, stacked over an ungraded copy. Because the graded layer is the cutout, the ellipse can overshoot the head without touching the room; there is nothing outside the silhouette to paint. Size it generously rather than tightly. A fixed clip only holds for footage where the subject barely moves. Measure before relying on it — here the head travelled 5.5px across the whole clip. Anything with real movement needs a tracked matte produced outside HyperFrames.

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Destroying the picture on purpose

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Pixelate, dither, bloom

Three ways to take the image apart, each saying something different. Pixelation reads as redaction. Dither reads as a display failing. Bloom reads as light overwhelming the sensor.
Degrade the picture into a screen over four seconds. Ramp dithering from clean up to 0.85 at mid pattern size, so continuous tone breaks into discrete quantised levels. It should read as a display failing, not as a filter being applied.
Blow the highlights out over four seconds. Ramp bloom from nothing all the way to 3 — well past a tasteful highlight lift — on a wide radius, so light spills out of the windows and progressively swallows the frame. I want to see the top of the range, not a subtle glow.
Bloom is the one control that will fool your instruments. Pushed hard it looks blown out while measuring as less clipped than the ungraded source — the haze is halation spreading light, not clipping. No clipping metric catches it. Judge bloom at 1:1, never from a thumbnail.

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Painterly, without mush

Turn the shot into a painting over four seconds without turning it to mush. Ramp a Kuwahara filter from nothing to full — mid radius, fairly high sharpness so edges stay crisp, and pull the saturation back a little so it reads as brushwork rather than as a filter. Boundaries stay defined while flat areas smooth into strokes. Pick a subject with dense colour and dense edges; the effect has nothing to preserve on flat skin or a soft-focus background.

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Two inks

Take the poster and print it in two inks only: a near-black navy and a warm cream, at mid dot size, like a two-colour press run. Everything collapses to those two colours. Bring it up across the four seconds from the untouched poster rather than cutting straight to it. Give it the exact hex values rather than a named palette.
Type is the harshest test of a two-ink reduction — dense small copy either survives the dot screen or turns to mud, and you can see which at a glance. Note the payload takes an explicit hex array; a named palette id is rejected.

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Hold one colour, drain the rest

A single red apple on a teal backdrop. Hold the apple’s colour and drain everything else — key off hue and collapse saturation everywhere outside the reds, so the backdrop goes fully neutral grey while the apple stays exactly as saturated as it was. Use a hue-vs-saturation curve rather than a global desaturation with the apple keyed back in: global saturation runs first in the pipeline and would kill the apple before the key ever sees it. Keep a generous skirt on the band so the apple’s shadowed side doesn’t clip grey.
Three things have to be true of the subject, and each one killed an earlier attempt at this shot. It must be inanimate — the grade desaturates everything outside the band, and on a person that means a grey, corpse-like face. It must be a single subject — a still life of mixed produce is full of colour, but half the items fall outside the band and grey out, so it reads as a filter misfiring rather than one colour deliberately held. And the surround must carry colour: against a neutral grey backdrop the grade would desaturate grey to grey and do nothing at all.

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Analogue: three different failures

“Make it look old” is three separate treatments, and mixing them muddles the period. The rolling wave is tapeTracking and tapeDamage. Static interlacing is scanlines — a different thing, and it belongs on a camera or a tube without dragging the wave along with it.

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Tape

Make it look like a worn VHS tape. Not one artefact — layer them: strong tape damage with tracking error, a little noise, mid tape speed, scanlines, and noticeable chroma bleed. Any one of these alone reads as a filter; together they read as a failing signal.

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Tube

Make this look like it is being displayed on an old CRT television, not like it came off a worn tape. Bow the geometry with barrel curvature so the straight lines curve and the corners pull inward, lay scanlines across it at a fairly fine pitch, add phosphor bleed and enough chromatic aberration to give visible RGB fringing at the edges. Bleed and scanlines want to sit near the top of their range — bleed is subtle even at 0.9. Curvature and chromatic aberration are the exceptions: both read strongly, so hold curvature around half and keep the aberration modest, or the tube turns into a fisheye novelty. Grade the tone as well as the geometry: crush the shadows and blacks, lift the highlights and whites, nudge saturation up, and add a restrained bloom — a CRT has no true black and lets its top end halate. Add grain and a vignette. Use a test card or something with dead-straight lines: curvature is invisible on organic subject matter.
The tonal work is doing as much as the geometry. Without crushed shadows and a halating top end, curvature and scanlines read as a filter laid over a clean digital image. If you composite a subject into the shot, do it before grading. A CRT warps the whole displayed picture; grading two layers separately bows the background while the subject stays rectilinear and spills past the tube’s curved edge. One layer, one warp — the opposite of the matte-separation rule above, and for the opposite reason.

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Camera

Take the clip and give it a camcorder grade: crush the shadows and blacks, lift the highlights and whites, pull the saturation back slightly, and add a restrained bloom, film grain for noise, a vignette, interlacing lines, and a little RGB splitting at the edges. Crushed contrast with muted colour is what consumer tape actually looked like — crushed and punchy reads as a modern filter. For the split use chromatic aberration, which offsets the channels; chroma bleed is a different thing, a smear rather than a fringe. Keep the interlacing static — no tape tracking and no tape damage, because those produce a rolling horizontal wave that reads as a broken deck rather than as a camera.
The HUD in that shot is not part of the grade. It is a camcorder-hud registry block — real HTML, CSS, and a paused GSAP timeline composed above the media canvas. Grading never touches it, which is exactly what you want: burn a timestamp into the source pixels and it degrades with them; put it in an overlay and it stays crisp, editable, and timeline-driven while the footage falls apart underneath.

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Animating a grade

Nine properties expose a CSS custom property and tween directly — ascii, bloom, blur, dither, exposure, intensity, kuwahara, lut, pixelate. Start them at identity so the shot opens ungraded and every intermediate value renders. Two caveats worth knowing before you promise a client a ramp:
  • --hf-color-grading-intensity does not scale a grade at render time. A static 0.5 renders the same as 0. Do not reach for it as a generic “ramp the whole look” dial.
  • Everything else has no custom property. Some of those can still be animated by rewriting the data-color-grading payload from the timeline — verified working for halftone and twoInkPrint. It is verified not working for crtCurvature, scanlines, chromaBleed, and chromaticAberration, where the same payload renders correctly applied statically but produces no change when driven through setAttribute. Measure the effect you intend to animate, and fall back to a static treatment if the ramp does not move.

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Next steps