Colourists and creatives come together to celebrate colour as award winners are After a long and careful evaluation process, the winners of the 2022 FilmLight Colour Awards<\/strong> were announced at a special ceremony as part of EnergaCAMERIMAGE<\/strong> on Sunday, 13 November.<\/p>\n The awards were independently judged by renowned cinematographers, directors and colourists. The ceremony \u2013 which was presented by 2022 jury president and award-winning cinematographer, BSC, Ben Davis \u2013 included a panel discussion with several winners in attendance.<\/p>\n \u201cThe role of the colourist has changed dramatically from when I first started in the industry,\u201d says Ben Davis. \u201cWhen 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.<\/p>\n \n \n\u201dThe award for the grading of a theatrical feature<\/strong> went to Michael Hatzer<\/strong> at Picture Shop for West Side Story<\/em><\/span>. Steven Spielberg and cinematographer Janusz Kaminski wanted to create a gritty, NYC 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.<\/p>\n The award for the grading of a TV series \/ episodic<\/strong> went to Tom Poole<\/strong> at Company 3 for his work on season two of Euphoria<\/span><\/em>. Poole worked closely with series director of photography Marcel R\u00e9v and creator and director Sam Levinson (as well as DoP Rina Yang). Levinson and R\u00e9v 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.<\/p>\n The award for the grading of a commercial<\/strong> went to Wade Odlum<\/strong> at alter ego for his work on Toronto\u2019s Royal Ontario Museum\u2019s, IMMORTAL<\/em><\/span>. Directed by Mark Zibert, this six-minute underwater film was shot in slow motion, and it was down to colour and visual effects to complete the surreal look that the director was looking for. Odlum created an overall look and feel and then each shot was layered with subtle effects \u2013 such as flares, textures, caustics and particles \u2013 to achieve the underwater illusion. He used heat haze for the slight underwater ripple as well as chroma warp and lens blur to tie it all together.<\/p>\n The award for the grading of a music video<\/strong> went to Ana Escorse<\/strong> at Studio Feather for her work on Rachel Reis\u2019 Lovezinho<\/span><\/em>. Directed by Lu Villa\u00e7a, the music video focuses on the concept of female freedom and empowerment and, as a female-identifying professional in the media industry, Escorse felt it was her duty to help expand this voice. Escorse was given full creative freedom on the look and the direction from Lu Villa\u00e7a was that she should \u201cfollow her gut\u201d.<\/p>\n \n![\"\"](\"https:\/\/archive.camerimage.pl\/assets\/uploads\/2022\/11\/Winners-Wade-Odlum-Ana-Escorse-and-Jake-White-on-behalf-of-Tom-Poole.jpg\")
<\/a>
\nWinners, Wade Odlum, Ana Escorse<\/em>
\nand Jake White (on behalf of Tom Poole)<\/em><\/p>\n<\/a>
\nWade Odlum, alter ego (commercial winner)<\/em><\/p>\n<\/a>
\nAna Escorse, Studio Feather (music video winner)<\/em><\/p>\n