​Why engaging a colourist early can elevate a series

Today’s audiences are arguably more visually literate than ever. They may not be able to articulate why something feels ‘cinematic’, but they instinctively recognise when an image feels considered and cohesive. That’s simply the role of colour - not just as a finishing touch, but as an integral storytelling device that shapes tone, mood, and meaning.

We all relate to the emotional power of colour. We respond to it every day – be that in nature, in design, in branding, seeing the same things at times of the day in different light – and those instincts carry into how we experience film and television. In the grading suite, I use colour to help guide the viewer’s eye and emotions frame by frame.

A subtle vignette might draw attention to a key object in the frame. A cooler tone might evoke stillness or unease; warmer light might invite comfort or intimacy. Sometimes, I’ll use the grade to reinforce the time of day or weather conditions, however, it’s just as often about psychological cues. We can heighten tension through contrast and shadow or use brightness and saturation to evoke feelings of clarity and calm.

In skilled hands, a colour grade becomes just as vital as performance, cinematography, or sound design. The grading suite should never be seen as corrective space; but more holistically as creative one that’s instrumental in the entire lifecycle of a project.

Making every production feel premium

One of the biggest misconceptions about epic cinematic colour is that it’s a luxury reserved for high-budget projects. In reality, a thoughtful and well executed grade can be as impactful a part of the strategy as pre-production, enabling flexibility in the shoot, creating something palatable and familiar for wider audience perception, and even accessing soft money in tax rebates as part of the newly increased AVEC.

These days, productions across the budget spectrum often shoot on the same cameras and lenses. What differentiates them is the care taken in post. A beautifully graded project feels more premium. It communicates the craft and intentionality, and can take the shots to a totally new height in terms of emotional resonance, artistry and impact. We often use the same techniques on smaller projects that we’d apply to any major series. The key difference is time, not ambition. If the production team have the appetite to push the boundaries, a modest budget show or film can look like literally millions of dollars

Modern grading systems, such as our Baselight setup also go beyond colour correction. They include powerful tracking and compositing tools that allow us to fix or even enhance elements during the grade like swapping skies, refining details, or subtly balancing a frame. That means the colour room can do some of the heavy lifting traditionally reserved for online finishing, provided we’re given the time and collaborative means to do it right.

All of this becomes far easier and more effective when the colourist is brought into the creative process early.

When I’m involved in pre-production, I can help inform decisions around cameras, lighting setups, set design, and other workflows. Early conversations between the director, DOP, and colourist mean that post becomes an extension of the creative vision rather than a corrective step at the end.

For our work on Film Club – after early conversations with the DP, Jonas Mortenson – we both instantaneously knew we’d have a lot of fun colouring the series and create a unique look for each ‘film club’ that was rich and layered. We intentionally leant into the tactile characteristics of film, adding grain, flares, etc. and overlaying them on the anamorphic footage from the Alexa to pull the viewer deeper into the cinematic experience.

In pre-production, we can work with the production team on the impact of certain decisions around cameras/lighting, set design, workflows, or wardrobe. This has endless opportunities to benefit and enable the creative process and implement changes to schedules to reflect it – for example shooting day for night, changing the time of year, adding light that comes from weather and environmental factors that are hard to plan for happening naturally.

Fundamentally, on productions where we’ve aligned from the outset, the final grade tends to be smoother, faster, and ultimately, a more rewarding experience for everyone. It also gives us time to live with the project creatively and to think about how colour and tone can amplify what’s already there rather than trying to retrofit a look once a shoot has wrapped.

Build relationships that last

For filmmakers looking to elevate their work, building relationships with colourists and post teams is key. Every colourist works differently, but the best collaborations are grounded in trust and communication.

If you’re just starting out, reach out through producers and start a conversation about your project. Many of us are open to mentoring or collaborating with emerging talent when time allows – and the same goes for junior colourists, VFX artists, and producers who are eager to hone their craft. Some of the strongest creative partnerships in the industry are forged on passion projects, where everyone is working together to make something they truly believe in.

Paul Harrison is co-founder and colourist at Residence Pictures