Overview of the role
Colour grading is performed, often in a dedicated grading suite, by a skilled colourist. They take a brief from the producer or sometimes the DoP about the mood or feel they intended and interpret to recreate that on screen. This can be done in collaboration or once style is established they can be left alone to complete the work for review by the client before it returns to the online.
Footage is manipulated using powerful specialised software such as DaVinci Resolve or Filmlight’s Baselight. These both give the colourist the power to isolate different sections of the image, based only on for example their luminance level or hue, and manipulate them to fine tune every part of the image so it achieves the overall visual finish the director wants.
Often footage comes from a variety of sources and cameras so it is also the colourist’s responsibility to balance these images to match for consistency. Consistency can either be required throughout a whole scene or it is the task of balancing a main interview camera and a second camera which were wildly different at source. It may also require helping to smooth damage such as burnt out highlights, correct aperture shifts and other errors.
Dedicated grading suites are usually Filmlight’s Baslight or DaVinci Resolve.
Core responsibilities
These core responsibilities are provided as a guide and are not exhaustive. The exact responsibilities in a particular job will vary depending on the scale / budget band / genre of the production.
- Using knowledge of the equipment and an eye for colour to bring out the best in every shot no matter what the source origin.
- Familiarity with how the light and colour on screen combine to build an overall finished image.
- Understanding of how raw camera footage is processed either manually or with colour space management from different camera sources to enable full manipulation of data.
- Interpreting the brief to achieve the look and overall colour palette they intended
- Offering suggestions or solutions beyond those of the director which could further set tones and enhance set ups.
- After agreeing a palette with the director working to meticulously bring that out of all the footage provided.
- Consistency of light and colour temperature between shots and cameras so nothing jumps out unless it should do. Matching of skin tones between shots is key.
- Ability to smooth the differences not only between cameras but between archive sources so it is less jarring for the viewer.
- Communicate with the online to ensure you aren’t both providing conflicting solutions or the same solution one one challenge.
- Some effects may be better achieved in the grade, some will need elements provided by the grade so they can be rebuilt in the online.
- The online assistant may be able to provide better versions of footage or will have changes to the cut that need to be integrated into the grade review timeline.
- The director will have approved all the colour changes and treatments so that when they move to the online they are able to focus solely on the final text, effects and technical deliverables
- The grade should be within legal colour limits so that harsh clipping does not occur in either the luma or chroma
- Treatments should also aim to limit the possibility of triggering failures for PSE. If you are concerned the grade can often be sent for a preemptive PSE review so that issues can be addressed before final QC.
Skills
Check out role specific skills, transferable skills, and attributes for the role of colourist.
Visually creative: understanding light and colour and how they can affect the viewer’s emotions. How to highlight or reduce different parts of the image to change the viewer's focus or reaction to the image. Using thoughts about style and the overall intention from the director to create on screen what they have in their mind.
Wider interest: an active passion for cameras and film. Historical knowledge of film looks from cinema through to use of lighting and colour in advertising can really help identify looks and styles asked for by a director.
Detail focused: this could be adding shadows or light to day to night shots, or introducing the extra depth of field defocus to obscure distractions. Being another pair of eyes that spots sync issues or goldfishing. Any tiny detail that could improve the programme should be raised whether the solution is for the colourist or for the other departments to address.
Time management: cut rate and the quality and balance of the original sources have a huge impact on the time needed for a grade. Being able to quickly assess if the vision the director has will be achievable in the time allowed and raising concerns with those able to reassess and adjust the schedule.
Breadth of knowledge: a wide understanding of the full final post process knowing which software provides the best solutions for the needs of the programme.
Flexibility: being adaptive to changes of shots coming through from the online due to late footage delivery or because of essential shot
- Visually creating a look or style based on a brief
- Communicating ideas aesthetically and technically in a manner that can be understood by both those with and without deep technical knowledge
- Being able to take direction and work without supervision to achieve the desired result
- Proactively taking an interest in new colour technologies and cameras which offer better solutions and greater enhancement of images.
- To be open to suggestions and changes. They can be necessary for legal reasons or because the director has a different idea. Working with them to achieve what they want is part of the process and shouldn’t be taken as a personal slight.
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