If you had to describe what you do to someone outside of the industry, in a sentence or two, what would you say?
I get asked that question a lot. I say to them “think of it as Photoshop for moving images” or “I make the cheese on the cheeseburger look nice and yellow for the commercials you see on TV”. People seem to understand after I say that.
When you first started out how did you value your work? How did you know what to charge?
When I first started I was working on student films with Emerson College. It was a fixed rate for two hours and then an hourly rate after that. All the students wanted it done as fast as possible to keep it cheap. So I learned to work really fast. I took on a lot of low/no paying jobs in the very beginning of my career and established some good relationships. As I started to get more experienced the work just started coming in and I was able to get full rate.
What advice would you give your 25 year old self today?
Stick my nose into VFX more. The line between VFX and color is more blurred than ever. Compositing, paint work, cleanup – it’s all part of the process now. I have struggled through it to some extent and have come out better at my job because of it.
When someone comes to you with a project where do you start? What does the creative process consist of?
I normally ask them about how they want the project to feel. If they have any influential references. That’s much more effective than saying “Do you want it contrasty and saturated?” A lot of times people don’t know the technical jargon, but they know what they like and don’t like. Then I try to throw examples at them and we move forward from there.
Do you set any constraints for yourself when you begin a project? Is experimentation important to you?
Experimentation is very important for me, but I try to do it on my own time. Clients pay a lot of money to sit in a color suite and I don’t want to waste their time because I’m feeling artsy. That doesn’t mean I’m not going to show them looks and do the best to explore options. But the reality is that we’re on a deadline and the clock is ticking. I find that setting constraints only hinders the process, but you should be aware of them. Knowing when to go outside of the box and when to take risks is a big part of the job. It’s not really something you can teach, you just kind of have to experience it and go with your gut to find out what avenues are worth exploring.
What is your biggest creative obstacle?
It’s easy to get into a funk when you’ve done the same kinds of job over and over again. Same old thing. Same old look. When I get feeling that way I try to look to other jobs as a spark of creative freedom. Thankfully I’m busy enough to have those outlets and have built up a client base that allows me to do just that. One thing I always try to remember is that every job is important. I’m being hired to do that job to the best of my ability and it deserves nothing less than my absolute best.
Have there been times when you have taken risks and it didn’t necessarily pay off? What did you learn from it?
In the color suite I’ve tried all sorts of things. It’s part of the creative process. Where I really regret it is assuming someone wants something pushed in an aggressive manner. And once I’m fully committed to the look and hours into the process, then I realize they don’t want that look and I have wasted everyone’s time. I learned that lesson the hard way, but it doesn’t stop me from trying new things – I just need to communicate better before jumping in headfirst.
How does your approach to a project differ from say commercials to features?
Commercials are unique in that they’re all selling something. So whatever they’re selling you need to make it look as good as possible. Generally, commercials revolve around the product, so you’re kind of an extension of the sales team – that’s something I always try to keep in the back of my mind. For features you really need to know the story and the characters involved. That’s really what drives the look. I do my best to further the mood and story with color. I normally try to select a shot that I feel is representative of the piece overall and go from there. I try a couple different looks and see what sticks. Once I decide on what direction to go, I push forward with matching scenes and carry the look through completion. I try to stick to a fixed node structure so I know where all my adjustments are taking place. It helps me work in a timely fashion.
Colorist play a big role in helping achieve a look of a film yet they often go unrecognized for their work. For instance, The Academy Awards has no category for Best Colorist. Do you see that changing soon and why or why not?
Within the industry I feel like the work is recognized and people are more aware of the role of the colorist than ever before. On a more public level, however, I don’t really see that changing. There is just too much that goes on behind the scenes.
What is the last experience or piece of art that inspired you?
Spike Jonze always blows me away. His recent commercial work for Apple and Kenzo were absolutely incredible. Some of my all time favorites.
Do you have a daily routine?
Not really. It’s just come in, put my head down and do the work. Most people will find that I’m all business when it comes to coloring. While I like to keep the session light and fun, ultimately it’s all about getting the work done. Once we’re wrapped for the day I try to hurry home to spend time with my wife and kids. Having support from home is a big deal for me since the job is so crazy and all over the place.
Do you have any habits that you attribute to your success?
Attention to detail, precision, and willingness to go the extra mile. People really notice when you’re 100% committed to a project. I try to remember that people have been working on a project for weeks, months, or sometimes years. And I only see it for a day or two. They’re heavily invested in the project and want to see it come out the best it possibly can. I always want to match that same level of enthusiasm.
How do you detach from work… prioritize family and self care?
It’s tough. And there’s times where I’m really not good at it. Once I had kids I made it more of a priority for me. A lot of it just involves being outside with my family and spending time together. Basically I just try to be away from a screen and enjoying the company of others.
Do you have a mantra you live by?
Work hard and be kind. Pretty much applies to every aspect of life.
Do you have any interest in going to Mars?
Nope – too red