Tag Archives: Apache Color

Colorist Arianna Shining Star joins Apache

Santa Monica-based color and finishing boutique Apache has added colorist Arianna Shining Star to its roster at this Santa Monica color and finishing boutique. She is the studio’s first woman colorist.

Star’s commercial work includes spots and branded shorts for Apple, Nike, Porsche, Budweiser, Tommy Hilfiger, Spotify and Coca-Cola. Her music video credits include the MTV VMA-nominated videos Wild Thoughts for Rihanna and Justin Bieber’s visual album for Purpose. Her longform work includes newly released Netflix feature film Ibiza, a comedy co-produced by Adam McKay and Will Ferrell’s Gary Sanchez Productions.

After studying Cinematic Arts and Psychology at USC, Shining Star cut her teeth at Company 3 as an assistant colorist. She then worked as a Baselight specialist for FilmLight before joining Paramount Pictures, where she remastered feature films in HDR. She was then brought on as colorist at Velem to spearhead the post production department of Milk Studios.

“Arianna worked with us before, and we’ve always had our eye on her,” says managing partner LaRue Anderson. “She’s super-talented and a true go-getter who’s amassed an awesome body of work in a relatively short time.”

With Northern California roots, Arianna’s distinctive middle name (she goes by her first and middle names professionally) comes from her parents, who met at a Grateful Dead concert during a performance of the Jerry Garcia classic song, “Shining Star.” Something of a next-gen Dead Head herself, she admits to having seen the current iteration of the band over 30 times.

Her background and interest in psychology is clear as she explains what attracts her most to color grading: “It has the ability to elevate not only production value and overall aesthetic, but can help guide the viewers’ emotional journey through the piece,” Star says.  “I love the opportunity to put the finishing touches on a piece, too. After countless people have poured their heart and soul into crafting a film, it’s an immense privilege to have the last creative touch.”

On adding the first woman colorist to the Apache roster, Anderson says it’s a testament to Star’s creative skills that she’s flourished in what’s largely a male-dominated category of post production. “There’s a lack of role models for women coming up in the creative ranks of color and visual effects,” she explains. “Women have to work hard to get on the playing field. Arianna is not only on the field, she owns the field. She’s established herself as a specialist who DPs and directors lean on for creative collaboration.”

“I want to be seen for the quality of my work and nothing else,” she says. “What makes me unique as a colorist is not my gender, but my aesthetic and approach to collaboration — my style runs the gamut from big and bold to soft and subtle.”

She cites her work on Ibiza as an example of this versatility. “Comedies typically play it safe with color, but from day one we sought to do something different and color outside the lines,” she says. “Director Alex Richanbach and cinematographer Danny Modor set me up with an incredibly diverse palette that allowed us to go bold and use color to further enhance the three different worlds seen in the film: New York, Barcelona and Ibiza. Narrative work really allows you to take your viewer on a journey with the color grade.”

At Apache, Star says she’s found a home where she can continue to learn the craft. “They’re true veterans who know the ins and outs of this wild industry and are incredible leaders,” she says of Anderson and her partners, Shane Reed and Steve Rodriguez. “And their three key core tenets drew me. One, we’re a creatively driven company. Two, we’re consistently re-evaluating the playbook and figuring out what works and what we can improve. And three, we truly operate like a family and support one another. We’ve got a crew of talented artists, and it’s a privilege to work alongside them.”

Apache colorists: Cullen Kelly added, Quinn Alvarez promoted

Santa Monica color and post studio Apache has added colorist Cullen Kelly. In addition to Kelly’s hire, the studio also promoted colorist Quinn Alvarez from an assistant’s role.

Kelly joins from Labrador Post, a color grading studio he founded in Austin, Texas. He has relocated to Southern California. Alvarez has been with Apache since 2015, joining from the production company Prettybird, where he handled all post duties and worked closely with its directors and producers.

“We’re currently working on several scripted and documentary shows for Hulu, Netflix and Amazon, in addition to our commercial work for agencies,” says Apache managing partner LaRue Anderson. “We needed additional artists that come with a unique perspective to color grading to handle these assignments, not just helping hands.”

Kelly worked with Apache earlier this year as a freelancer, doing finishing for the debut season of Netflix’s American Vandal series. Kelly, who studied film at the Art Center College of Design in Pasadena before launching his career, worked in several post jobs before focusing on color grading. In addition to his work on the Netflix series, his reel includes short films and promos for The History Channel, FX Networks and SXSW.

When asked what drew him to color grading, Kelly said, “I’m a very visual person, and I love the amount of detail and energy that goes into color work. And it’s so collaborative; you’re working with people and helping bring their vision to life.”

A graduate of UC Berkeley, Alvarez says that while working at Prettybird he learned the craft of color grading from a director’s point of view, stressing the importance of story and substance. “I like the pace of color work, too,” he adds. “There’s always a new challenge, and new clients to work with. It keeps me fresh. And color is typically one of the final stages in a project — you’re putting the polish on things, so to speak, so people always leave happy.”

His reel includes work for such brands as Nike, Absolut, Jack Daniels, Tumi, Toyota, Lexus and Mercedes-Benz, as well as music videos shot by such directors as Paul Hunter, Eric Wareheim and Andy Hines.

Both Kelly and Alvarez use Blackmagic Resolve.

Apache’s branching out from just color to handling finishing is also driving its need to add more creative talent, reports Anderson: “Keeping the color and finish under the same roof, particularly for long-form projects, allows us to swiftly complete a show. That adds valuable time to our clients’ often-constrained post schedules, without compromising the look and feel of the film. And we’re finding that cinematographers and directors are moving to original series work, because it can offer more creative freedom. With the addition of Cullen and the promotion of Quinn, we now have five colorists to help transform their digital visions into reality.”