Colorists & Artists

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August 01, 2012
Variety's 2012 Below The Line Impact Report
Technicolor's Colorists & Artists

DAVID COLE

Senior digital colorist, Technicolor

DAVID COLE - Senior digital colorist - The look of "Abraham Lincoln: Vampire Hunter" was achieved through intense collaboration, says Cole. "If you work together you get something better than what you can do individually," says Cole, who also separated a gritty urban setting from a cleaner family arc on "Warrior"; gave a clas sic 1970s look to "The Ides of March"; and worked on multiple international versions of "The Darkest Hour." His recent projects include Joss Whedon's "Much Ado About Nothing," shot digitally on the Red Epic and converted to black and white, and Ang Lee's "The Life of Pi."

 

PETER DOYLE

Supervising digital colorist, Technicolor

PETER DOYLE - Supervising digital colorist - Doyle created the watercolor palette for Aleksander Sokurov's Venice-winning "Faust," and worked on franchises such as "Harry Potter," "Lord of the Rings" and "Dark Shad ows" with frequent collaborator Tim Burton. More recently, he's graded dailies for Joel and Ethan Coen's "Inside Llewyn Davis." "It's a lot more of a true design process," he says. "It makes a better-looking film because by the time photography has finished, you've found where the film's color and look should be." He's also returning to Middle Earth, reuniting with d.p. Andrew Lesnie to do look development for Peter Jackson's "The Hobbit."

 

MICHAEL HATZER

Senior digital colorist, Technicolor

MICHAEL HATZER - Senior digital colorist - Hatzer brought a fan's perspective to "The Hunger Games," using color to separate the pic's diverse locales. He also gave John Hillcoat's "Lawless" a filmic quality that included projector flicker. Hatzer says he sees his job as finding a look that satisfies multiple creative opinions. "Picking the right path or experiment ing with different looks can be time-consuming and expensive, but well worth it," he says. Hatzer is also grading Steven Spielberg's "Lincoln," shot by Janusz Kaminski -- "two icons of the film industry," says Hatzer -- and "The Odd Life of Timothy Green," whose flora-focused story requires a lot of special attention to green tones.