GRADING CRAFT
POST
The grade provides a consistent ‘look’ to a drama, but a great grade can enhance mood, focus and narrative flow. Jon Creamer asks the experts how it’s done
very instinctual, you’re not sitting on a scene. A good analogy would be sculpture - you start chipping off big blocks, and getting the shape and, bit by bit, you slowly start focusing more on detail.
I don’t really reference other films. I reference photography a lot. I like it when the image on the screen looks like it could be printed on photographic paper - where there’s a texture to the highlights, texture to the black, and it doesn’t feel like a video image, it feels like a moving photographic print. The people that influenced me when I was coming up were people like Jean-Clément Soret and what Jeunet was doing with Amélie or City of Lost Children and Delicatessen. They were very strong photochemical looks back then. When we were coming up as telecine artists, everything you saw at the movie theatre was a film print and we were always aspiring for that print look. So, we always had that association of the projected film print as being the ultimate version of something.
A good grade complements the narrative. The viewer shouldn’t be too conscious of the grade. That’s not to say you can’t have a heavy look, but for a good grade the number one thing is that it facilitates the DP’s vision. There are colourists that want to have more recognition for their contribution to a film. For me, the only recognition I need is for people to talk about the cinematography in a positive light. If so, I’ve done a good job.
There’s a lot of responsibility. I’ve seen the pain and suffering filmmakers go through to get their films made. I’ve seen the process ruin people’s marriages; I’ve seen them get sick trying to finish a film. And so, as a colourist, you need to have all your boxes checked and make their life easier. In the beginning when I was coming up, to me it was all about ‘how does my work represent who I am as a colourist?’ As I’ve gotten older, I’ve realised the relationships and friendships I have are the most important things in a career. Because you can be really talented,
but if people don’t like you, and you’re not a good communicator, you’re not going to have a long career.
I’ve trained a few people over the years who have gone on to become colourists and some that haven’t. You could have people that have an amazing eye, but they just hate the client dynamic and the pressure of having people sitting behind them. It’s about being personable, confident, a good politician, a problem solver. There’s a lot of left brain/ right brain stuff. You have to be very creative, but you also have to be incredibly technical.
Spring 2022
televisual.com 99
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