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before specialising in digital intermediate finishing. Most recently, he worked on Captain Marvel and is talking about the experience and his approach. “The buttons and knobs don’t make the grade, the ideas and execution do,” Delaney explains. “I love the discovery process: working with filmmakers to find the right tone for the piece – then refining and evolving that tone becomes the mission and joy of the job.” Andrea Chlebak is a senior colourist at Deluxe Entertainment Services (Encore Hollywood and EFilm), handling features, episodics and documentaries. “For me, the key thing that really differentiates a colourist is the way their technical skill and creative abilities intersect,” she reveals. “Almost anyone can learn software and create a cool-looking image, but staying certain way, helps you to refine your own taste. Offering a new perspective, which is sometimes different to your client’s, brings meaning to those colour choices and allows colour to play a role in storytelling.” Recent credits for Chlebak include award-winning indie productions Mandy and Prospect , Neill Blomkamp’s Elysium and Chappie , along with his Oats Studios curious about why you might add or subtract colour, or grade an image a
IMAGES Colourists use sophisticated tools to allow colour and tone to play a role in storytelling
experimental shorts and the animated adaptation of Kahlil Gibran’s The Prophet . At the show, Chlebak is talking about how she works with directors and cinematographers to enhance the narrative through colour. Laura Jans Fazio has worked at many of the big-name facilities in both New York and Los Angeles before her current role as senior colourist at Encore Hollywood. She has worked on many hugely popular episodic television series, including House of Cards , Mr. Robot , Hawaii Five-0 , Proof and Empire . Fazio has just finished the second season of Netflix’s A Series of Unfortunate Events and is ideally placed to talk about grading for SDR and HDR on the same project. “If you want to be a colourist, learn all you can about every step of the process,” Jans Fazio suggests. “Research different cameras and file types, become an assistant and practise. Get on a kit and experiment by emulating looks from existing shows,
magazines, commercials or films. And don’t be afraid to ask questions.” All four colourists are power users of Baselight and are well placed to answer any questions. During the day, they are showcasing new Baselight features – introduced in response to requests from colourists – showing just how they have dealt with the challenges of colour grading along the way. The NAB Show Colour Day is free of charge, but places are limited to ensure maximum interaction. This event is held in the Renaissance Las Vegas Hotel, adjacent to the Las Vegas Convention Center.
DETAILS AND REGISTRATION FORM: filmlight.ltd.uk/nab2019colorday
APR I L 20 1 9 | DEF I N I T ION 41
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