THE CRAFT OF THE COLOURIST POST-PRODUCTION
Nicola Foley gets an inside look at the craft of the colourist, hearing about the tech changing the game, dynamics with DOPs and trends on the horizon
CEM OZKILICCI Winner of the FilmLight
we want to create’. From there, he likes to oversee the dailies during production, facilitating ongoing communication with the production team and VFX, if used. “This continuous exchange is invaluable for strategising on specific scenes or shots,” he explains. “It streamlines the process significantly, making the first day of grading much smoother.” According to Ozkilicci, the relationship between colourist and DOP is constantly evolving. At the start of his career, over two decades ago, it was customary for DOPs to be physically present in the grading suite, since sharing stills via mobile or high-resolution QuickTime files for review wasn’t feasible. With the strides forward in tech around remote grading solutions, and the shift to digital cameras and workflows, the landscape has changed dramatically. “DOPs have become increasingly tech-savvy, engaging in discussions about codecs, digital workflows, pipelines and colour management,” he contemplates. “It’s now common for them to have their own set of LUTs, often developed in collaboration with a colourist. This evolution reflects the ongoing importance of effective communication and collaboration. Sharing your ideas, inspirations and references – whether from movies, series, paintings or still photography – remains at the heart of our dynamic and ever- changing field.” Recently, Ozkilicci established his own colour grading studio, Cocolors, deploying Baselight, which he praises for its robust capabilities. For others working in the field, he emphasises the importance of staying informed about the latest developments, finding that the most valuable insights often come through networking and engaging with other industry professionals. The integration of machine learning (ML) in colour grading marks a seismic leap forward in technology, he stresses,
Colour Award at CAMERIMAGE 2023, Cem’s recent projects include
Songs of Earth & Possession O riginally inclined towards photography, Cem Ozkilicci forayed into colour grading somewhat by accident, after realising that on-set work wasn’t his calling. His cinematography tutor at the time suggested compositing as a possible career path, which led him to Montreal and a course in Flame. From there, he landed a role at a post house, which – fortuitously – acquired a telecine soon into his tenure. Working under colourist Rob Lingelbach and continuing his education in Flame, his focus gradually shifted towards grading, as he found himself drawn in by its unique intersection between photography and visual effects. “As well as the artistic side, I was captivated by the technical and social facets of the job,” he recalls. “The collaborative nature of the work, especially synergy with DOPs, directors and clients, was particularly appealing and aligned with my skills and interests.” For Ozkilicci, whose recent notable projects include Norwegian feature Possession as well as festival favourite Songs of Earth , the process begins with dialogue between the art department, DOP and director. Taking place, ideally, in the earliest stages of production, and including tests on costume and makeup, this collaboration allows for the development of the show LUT, and ‘laying the foundation for the visual world
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