THE CRAFT OF THE COLOURIST POST-PRODUCTION
to be shown in, and making sure that the emotional feeling is consistent no matter what. So I’m always looking at how I can improve my processes, how we can clean stuff up and simplify things, while not limiting what we can achieve visually. “The great thing about colour grading is that so much of the visual experience is perceptual,” he adds. “Sometimes, it’s irrelevant what the ones and zeros are telling you – it’s about the overall experience and what it actually looks like. I love embracing that ambiguity.” Bicknell is a big believer that the camera doesn’t define the final look of a film. He advocates using colour management and thoughtful processes to ensure that, whether it’s shot on RED, ARRI ALEXA or Sony VENICE, you’re not restricted creatively or locked into a certain aesthetic. The colourist will then interpolate what the camera has captured into a form that best serves the story and emotion. Making sure that he’s bringing the vision to life in the right way involves a tight working relationship with DOPs, and Bicknell sees his role as a creative partner who can ease the load. “DOPs have got so many different things to manage: blocking, lenses, movement, lighting and
– one example that comes to mind is the opening scene of Solaris , with his purple jacket against the cool green. I remember that palette vividly.” As the industry flirts with AI, Bicknell anticipates its transformative impact, but hopes its use will be more practical assistant in post-production – creating depth maps and performing menial ‘right-or-wrong’ tasks – as opposed to a creative force. “I see a lot of energy put into AI development for actual look generation, time of day adjustment and things like this. I believe that misses an opportunity,” he explains. “The way it’s implemented currently, AI can write a novel, but still can’t perform basic functions. Really, if it was orientated towards that, then it would be a much better tool.” For any aspiring colourists out there, he recommends homing in on others’ work you like and dissecting it, as well as finding a way to make each hue, saturation and tone work for you, so that nothing is off limits. This means that when you come to a new project with a certain colour element, you have the knowledge to confidently weigh in on designing the palette. “Have a healthy dose of humility, and always remember there’s things just around the corner you don’t know which will change how you work – and that’s okay!” he concludes. “It will be a constant evolution of your process. Enjoy it.”
more, so I try and think of everything I can do colour-wise to help support them as much as possible,” he says. “I want any DOP I work with to feel they can reach out if they’re running into an issue, or that they can soundboard stuff, even if I’m not colouring that specific project.” Ever conscious of not playing it safe, he continually carves out time to experiment, try new techniques and keep inspiration flowing – ensuring he comes to every new project with a fresh slate of ideas. He also has a mental mood board which he returns to frequently: “Over time, you find yourself building up this memory of little visual characteristics that worked, paired with other things well, or had a certain emotional effect,” he shares. “Then there’s little moments you remember from things you watch SOMETIMES, IT’S IRRELEVANT WHAT the ones and zeros are telling you ”
CLOSE-UP Joseph Bicknell’s grading on All of Us Strangers has many admirers
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