Coloring the Cinematic World

There’s a lot of people out there even within the film world who don’t exactly know what the job of a colorist, or even what color grading really is. To put it simply, color grading is the process by which a colorist takes the footage from the camera and manipulates it to create an aesthetically pleasing and technically sound product to be distributed. I view color grading as a process that is responsible for both technical management as well as artistic expression. When it comes to the technical management, it is my job to make sure each shot is properly exposed and matches the others within any given scene to maintain continuity.

Additionally, I am responsible for fixing technical issues on set. Some of these issues the cinematographer is aware of, and some of these issues, they are not. I am also responsible for ensuring that the color grade has been properly adapted for however the film is to be delivered whether that be through youtube, netflix, or even as a DVD. As for the artistic expression, I work with directors, cinematographers, and in some cases producers to create a mood with the images that draws the eye to the right spot and sets the proper tone. This is an incredibly fun part of the job and leads to some very engaging discussions with the other collaborators.

Before color is applied

Color grading is something that I have been doing for about four years. I got started in it as I was trying to learn and understand cameras. Frustrated that I was unable to capture the shots that I had in my head, I started using the color tools in Adobe Premiere Pro and found that this was the key to getting the shots I wanted. I spent a lot of time learning the ins and outs of Premiere’s color software and in doing so, grew a deep understanding for the foundations of color science. This allowed me to transition over to Da Vinci Resolve, which is the industry standard software, with relative ease. This is a free program that anyone can get their hands on and get phenomenal results. However, people have asked me whether they should dive right into this program and I caution them. I find that without a solid foundation in color science, the tools in Da Vinci are going to be daunting. Therefore(assuming one has access to Premiere) I recommend learning the basics on that program first and then switching over. There are tons of tutorials online or even cheap courses that can be invaluable to learning this craft.

After color is applied

Furthermore, after working on my own projects for a while, I started getting approached to color grade various student capstone projects. This is an extremely exciting process for me. The working relationship that I have with the director and cinematographer is a lot of fun and it is different every time. Sometimes, I will give a rough version first without any notes and we iterate from there. Sometimes, they give me some notes to begin with that I can use to guide me. Other times, I have created massive look books showcasing

multiple different potential looks for every scene.

All of these methods have yielded very successful results for me. As for which one is best, I always like to follow whatever workflow fits the director best. However, I find that the more information a filmmaker can give me, the better. One thing I tell directors all the time is that it may not take me long to get a pretty looking shot, it may take a very long time to get the shot that you want. Color grading is so specific and so detailed and therefore, it takes time to get to the very specific vision in the minds of the directors. Nevertheless, I really love that process. These discussions are always fun though as when working with the filmmakers, we both generate our own ideas and synthesize them to generate the best product possible. While I will always listen to the director and cinematographer above all else, I really appreciate it when they give me a voice in the process and allow my opinions to be heard even if we don’t end up going with my ideas.

Zack Hankins

Over time, one of the things that I found has evolved in my work has been the attention to detail in the technical ends when it comes to the capturing of images. By understanding how cameras work and files are encoded, I have had a much deeper understanding of how to create the best possible color grade. Applying this to a film set, these conversations therefore go back to pre production. One of the best things

a cinematographer can do for a colorist is to discuss these details and have a plan when it comes to the camera specifications.

Then, while shooting, the cinematographer can ensure that they are shooting in such a way that gives the colorist as much latitude as possible when filming. This is done by making sure everything is properly exposed and white balanced all while keeping these technical specifications in mind. Then when it is time for the colorist to grade, understanding the real technical details of what is going on allows the artist to really perfect the grade in a manner that is grounded in the technical requirements.

Overall, color grading is an extremely satisfying process that combines the interesting technical knowledge with the artistic beauty of making a shot pop. I recommend anyone interested to explore this field and wish luck to all aspiring colorists

Zack Hankins