What do you do if your film's visual appeal needs a boost?

As a colorist, I've seen how color subtly shapes a film's emotional impact and guides the viewer's focus. It's about highlighting and subduing to direct attention where the filmmakers intend. I've used color to set a time period or define distinct locations within the story. Collaboration with the director and cinematographer is vital. I help create a basic look from camera tests, one that works across lighting conditions without hindering the original photography. Choosing a color palette starts with understanding the design choices and the story's themes. I focus on a few key colors that resonate with the narrative and find ways to enhance and complement them. This sets the film's stock look, then we fine-tune it by scene and shot.

I find that what helps me find dynamism is really understanding exactly what sensation I want my audience to feel. From there I can transfer that feeling into a movement or an angle, and then I can keep building from there.

When color grading a film, collaborate with your production designer as early as possible. This ensures a smooth transition from the intended colors on set, through the camera, and onto the screen. For example, I worked on a superhero film where the suit looked great in person, but the LUT altered the hue significantly. While I could have corrected it, the filmmakers loved the new look, so production changed the material color. Additionally, production designers can use complementary background colors to enhance the overall aesthetic and simplify tasks like keying if changes are needed in post. This highlights the importance of a strong color pipeline from the earliest stages of production!

I find that basic skills in any 3D programmes like Blender or Unreal can be extremely helpful in collaborating with production designers. Virtual cameras can help us find out what’s possible and what’s not, and from there my production designer can build something that will really work on camera in terms of dimension and colours.

I find it very important to be inspired by the location I’m shooting in. I often let the way my location interacts with natural light guide me. Once I find something interesting, I try to create an atmosphere that will immerse my actors in their performance.

I would say hire a colorist!!! Then give them the latitude to be creative with each section of your film. Don’t be afraid to push the boundaries of what color can offer. It’s such an under utilized aspect of filmmaking. In my opinion.

Think of it like this: you spend hours staring at the same shots, the same colors. Sometimes, you just need someone else to point out the obvious thing you've been missing. It's NOT about tearing your work down. It's about finding those areas where you can make your visual storytelling even stronger. Embrace feedback from your team. Screen for early audiences. Get notes, listen to what they see, and don't be afraid to experiment. You might be surprised at how a few tweaks based on honest perspectives transform your film. Remember, your film is a living, breathing thing, even in the final stages.

Color grading isn't just about making your film look pretty. Think of it editorially like a sculptor with clay, adding, removing, reshaping. Here are a few quick tips to keep in mind; Correction First: Before making stylistic choices, ensure your footage is technically balanced (color correction before color grading). Reference Images: (films, paintings, shotdeck.com) to define the emotional palette of your project. Genre Cues: Understand how color conventions are used in different genres, then use that knowledge to support or subvert expectations. Subtlety is Key: Start with small adjustments, gradually building the look. Bold choices work, but remember, the best grades are felt, not always seen. My best work is the work no one noticed.