POST-PRODUCTION THE CRAFT OF THE COLOURIST
QUITE THE TRIP Society of the Snow brought Chema Alba’s work to a huge audience
as shooting day for night, she advises. When working on TV docs, this often isn’t possible, meaning that sometimes she’ll see the footage for the first time just before the session starts. In that scenario? “I get the opportunity to think on my feet and trust my artistic intuition!” Demanding a blend of creative, technical and social skills, Soryl admits that being a colourist isn’t for everyone. “Then there’s the vitamin D deficiency that comes from always working in a dark room...” she jokes. But it’s a job she loves, taking joy in translating words into visual deliverables and the chance to immerse herself in diverse worlds. She finds one of the most rewarding elements is the synergy between director, DOP and colourist – a fertile creative ground. “I also love collaborating with the Platform finishing artists, combining our toolsets to figure out what can be achieved between us,” she adds.
“Elevating the textures, colours and contrast into something powerful, without taking away from the narrative, elevates the DOP’s vision. A grade should go unnoticed; it should look real.” In the fast-paced world of television production, Soryl observes that DOPs are attending grade sessions less and less, making trust between all parties more crucial than ever. “When the DOP trusts you, everything becomes fluid as you can collaborate, share ideas, experiment and communicate in a language that becomes unique to our relationship,” she muses. “My grading adapts to what the DOP’s vision is, while also shaping it.” As new advancements in technology and techniques arrive thick and fast, Soryl stays ahead by listening to podcasts with thought leaders, subscribing to industry newsletters and connecting with other colourists. Currently, her favourite toys are the new tools for Baselight V6, particularly the X Grade and Chromogen look development features, while she also praises the arrival of ML tools in the finishing and VFX pipeline, such as face
detection, sky extraction and depth mattes, which will cross over into grading platforms. “It will be interesting to see how ML tools impact grading,” she comments. “It’s exciting to discover and implement new tools to my process.” Working on a variety of content, Soryl says each format presents unique challenges. “Fast turnarounds for projects can be tough. These are often shot on multiple cameras, some of which record at a low bit depth, and everything must be done in a day. It becomes a speed game, which I’ve learnt to enjoy, as it adds a pinch of excitement,” she shares. “Communicating around what the client is looking for can also be complicated. Colour is complex – we all perceive it differently. With so many dimensions to change how colour is experienced, words can be vague or limiting. But this is the constant fun and creative challenge of working as a colourist.”
DANCING SHOES Ella Soryl brought out the opulence in ballet film Sea of Troubles
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