Tag Archives: DI colorist

MPC DI colorist Jean-Clément Soret adds Technicolor London role

Technicolor London has grown with the addition of colorist Jean-Clément Soret to its DI team. He will take on the role of supervising DI colorist, which is a new role in addition to his current duties at MPC as global creative director of color grading, where he will continue his contribution to advertising campaigns. Soret’s tool of choice is FilmLight Baselight.

Soret is already well known as a DI colorist in the industry, having worked on on films such as 28 Days Later, Hard Candy, The Twilight Saga: Eclipse, Trainspotting 2, In the Heart of the Sea and Steve Jobs. TV series work includes Babylon, Midnight Sun and Black Mirror.

“I’m looking forward to forging new relationships with filmmakers and to continue working with both colorist teams at Technicolor and MPC, as I continue working on both long-form and advertising projects,” says Soret.

Video: Fotokem DI colorist Walter Volpatto on The Last Jedi and color

 

Last month Blackmagic held its first Expo, and one of the keynote speakers was Fotokem colorist Walter Volpatto. He was born in Italy and grew up on a farm, quite a long way from his current life in Los Angeles.

Volpatto originally got into this industry as a broadcast engineer, but his path continued, and when computers became more a part of this world, he started learning about photography and how computers interact with images.

“I was in the right place at the right moment,” he says. “I was lucky enough to be working with color timers who helped train me and my eye to the color, the image, the feeling and the world they were trying to create. So I was technical first and artistic second and that creates a unique blend.”

And the power of color? Volpatto says, “It’s kind of like when in the 1800s impressionists took over the world of painting; it’s the same now with the colorists. They can create a look that was impossible in-camera, and colorists can now give life to what the camera captured and every shade in between. I’m more on the naturalistic side, but it’s difficult because you have to be able to create what the client wants, but do it in a way that doesn’t step on their photography.”

We were lucky enough to get some quality time with Volpatto — we asked him about his recent high-profile color work on Star Wars: The Last Jedi, how he got started as a colorist and more…

 

Behind the Title: Harbor Picture Company colorist Joe Gawler

NAME:  Joe Gawler

COMPANY:  New York City’s Harbor Picture Company (@harborpicture)

CAN YOU DESCRIBE HARBOR?  
Harbor Picture Company is a large, artist owned-and-operated post production studio in NYC. Harbor is an awesome place to work.

WHAT’S YOUR JOB TITLE?
Senior colorist and partner

WHAT DOES THAT ENTAIL?
I spend the majority of my day in my theater collaborating with filmmakers. There’s a technical aspect of balancing shots to match one another, but, most importantly, there’s a level of taste and artistry that the colorist needs to help bring the most out of an image.

WHAT WOULD SURPRISE PEOPLE THE MOST ABOUT WHAT FALLS UNDER THAT TITLE?
It’s a full-time job, and then some. Successful colorists are always there for their clients. I’ve worked countless weekends and 24-hour sessions.

suite shot grading theater

WHAT’S YOUR FAVORITE PART OF THE JOB?
The relationships I’ve developed with amazing cinematographers and directors. It’s very humbling and motivating to have a filmmaker seek you out to help complete their vision.

WHAT’S YOUR LEAST FAVORITE?
When there are too many cooks in the kitchen and a beautiful image gets compromised for no good reason. The ability to manage a room full of clients successfully can be what separates a good colorist from a great colorist.

WHAT IS YOUR FAVORITE TIME OF THE DAY?
Getting to Harbor in the morning on day one of a new show or film.

IF YOU DIDN’T HAVE THIS JOB, WHAT WOULD YOU BE DOING INSTEAD?
Something creative that involves collaborating with a team and working on my craft.

WHY DID YOU CHOOSE THIS PROFESSION?
I’ll never forget my first experience editing a project for school. I was in the editing suite for 16 hours and it felt like one hour. That’s when I knew post production was for me.

HOW EARLY ON DID YOU KNOW THIS WOULD BE YOUR PATH?
I was fortunate to assist a very talented telecine colorist early in my career. He made the whole process so much fun that I couldn’t imagine doing anything else.

CAN YOU NAME SOME RECENT PROJECTS YOU HAVE WORKED ON?
Magic Mike XXL, Ricki and the Flash, The Knick.

Ricki and the Flash

Ricki and the Flash

WHAT IS THE PROJECT THAT YOU ARE MOST PROUD OF?
Well, I may be best known for Midnight in Paris, but I have also graded three films that won best cinematography at Sundance and have helped restore many, many classic films for The Criterion Collection.

NAME THREE PIECES OF TECHNOLOGY YOU CAN’T LIVE WITHOUT.
iPhone, DaVinci Resolve, my car.

WHAT SOCIAL MEDIA CHANNELS DO YOU FOLLOW?
Facebook and Instagram. DPs, such as Reed Morano, Tas Michos and Chivo, are posting amazing images daily. Truly inspirational.

DO YOU LISTEN TO MUSIC WHILE YOU WORK?
Absolutely.

CARE TO SHARE YOUR FAVORITE MUSIC TO WORK TO?
It depends on who I’m working with. Picking the music for the day is usually the first decision the clients and I make together.

THIS IS A HIGH STRESS JOB. WHAT DO YOU DO TO DE-STRESS FROM IT ALL?
Quality time with my family is precious and all too rare. So we try to get away on cool trips, somewhere international whenever possible.