The awards recognise the work of colourists using any technology platform while working across theatrical feature, TV series/episodic, commercial, music video and spotlight
By Jenny Priestley
Published: November 17, 2022
The awards recognise the work of colourists using any technology platform while working across theatrical feature, TV series/episodic, commercial, music video and spotlight
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The colourists on Steven Spielberg's West Side Story and HBO drama Euphoria were among the winners at the annual FilmLight Colour Awards.
The awards recognise the work of colourists using any technology platform while working across theatrical feature, TV series/episodic, commercial, music video and spotlight.
The award for the grading of a theatrical feature went to Michael Hatzer at Picture Shop for West Side Story. Spielberg and cinematographer Janusz Kaminski wanted to create a gritty, New York landscape that embraced images of desaturated desolation to bursts of vibrant Technicolor intensity. Shot on 35mm and scanned at 4K, this film was a true blend of modern colour science and classic film emulation, said the judges.
The award for the grading of a TV series / episodic went to Tom Poole at Company 3 for his work on season two of Euphoria. Poole worked closely with series director of photography Marcel R v and creator and director Sam Levinson (as well as DoP Rina Yang). Levinson and R v wanted to create an aesthetic akin to remembered images. To achieve this, they switched from digital to film, electing to shoot the season with a mix of Kodak's Ektachrome and Vision 3 500T stock.
It's time colourists were brought into the limelight'
Other winners included Wade Odlum from alter ego in the commercial category for his work on Toronto's Royal Ontario Museum's, IMMORTAL, while the music video award went to Ana Escorse at Studio Feather for her work on Rachel Reis' Lovezinho.
The spotlight award, introduced this year, showcases the craft that contributes to the creative impact of a low budget feature. It went to Aljoscha Hoffmann, who worked with DoP Tim Kuhn on Dear Mr. F hrer at CinePostproduction.
The role of the colourist has changed dramatically from when I first started in the industry, said 2022 jury president, Ben Davis. When I go in the DI suite now, the level of control is enormous. I really enjoy the collaboration with the colourist, so it has been a great pleasure to have the opportunity to review material that I would not normally get to see. Both the craft and variety of the work submitted has been fantastic, and I send my congratulations to all the 2022 winners and nominees.
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The awards recognise the work of colourists using any technology platform while working across theatrical feature, TV series/episodic, commercial, music video and spotlight
