MANDY WALKER INTERVIEW
COLOUR ME IMPRESSED Walker favours subtle and artistic enhancements in colour grading
Throughout her career, Walker’s relationship with colour has evolved, but her awareness of its resonance in art has remained constant. “I have always been sensitive to colour – the emotions it can enhance and the images it creates when used with light and dark, focus and distortion and layering,” she reflects. As a case in point, she references her work on Elvis , which used different LUTs to enhance the lighting, art direction and costume, expressing transitions of colour and contrast. By working with the various lenses, it helped the audience relate to distinct time periods – from the low- contrast pastels of the forties to the rich, vibrant hues of seventies Vegas. Evolutions in colour grading tech have significantly impacted her work, especially the emergence of the DI, which she says makes her job easier and more flexible. “To be able to play and test ideas in pre and post is exciting,” she says. “Also, the grading tools have become faster and more easily manipulated. When we shot with film and did a chemical analogue grade, we were more limited by the film stock, processing and the adjustments of colour and density only in the final prints.” Looking to the future, she expects the evolution of imagery, storytelling and technology will continue to influence colour grading trends. “But I don’t feel going extreme is what interests me,” she reveals. “I appreciate more the subtlety and artistry of the person to enhance the visual language.” Currently, she’s busy working on additional photography for a live-action film adaptation of Snow White , and is ‘looking forward to seeing what’s next’. Watch this space! Winners will be announced at EnergaCAMERIMAGE 2024 in November
in the frames with lighting, art direction, costume and makeup,” she elaborates. Collaboration with colourists is key to Walker’s process, and she works closely with them throughout to achieve the desired aesthetic in her films. “I always include the colourists as early as possible when I’m working on the visual language of the movie,” she shares. “This is to set up and test LUTs with them that work with elements of other departments – and to explore the way the colour, lightness and dark can work with texture, reflective elements and lensing.” The DOP values technically skilled colourists who also have a creative flair and bring their own ideas to the table. “I like working with someone who is an artist and understands the aesthetic of my vision,” she muses. “And who can
I HAVE ALWAYS BEEN sensitive to colour – THE EMOTIONS IT CAN ENHANCE”
collaborate and be open to create new looks which suit the movie, rather than someone who works on a movie in the same style they always go to.”
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