Appreciating the Clean Grades and the Wild Ones with Company 3’s Jenny Montgomery
Now a colourist at Company 3 in New York, Jenny Montgomery grew up in Michigan City, Indiana, exploring a whole host of creative outlets long before she knew what colour grading was. After studying photography at Columbia College in Chicago, Jenny then moved to New York and helped run an art gallery before finally joining Company 3 in 2014. As an assistant she plied her trade under the wing of Tom Poole, quickly absorbing his teachings and becoming a colourist in her own right.
In adland, Jenny has graded work for household names like Verizon, Uniqlo, Nissan, McDonald’s, Under Armour, Corona, and Lyft. And in the music world, she has graded videos for the likes of Katy Perry, Migos, BIA and Nicki Minaj, Parquet Courts and Bas. Jenny has also worked on many films, including the 2020 SXSW grand jury prize winner, ‘Shithouse’ and Netflix’s ‘Ghost of Sugar Land,’ the short film jury award winner for nonfiction at Sundance in 2019.
Speaking to LBB’s Ben Conway, she discusses the special place photography occupies in her life, her story at Company 3 - going from the production office to colour grading via hard work, late nights and bothering people with endless questions - and why she has particular reverence for excellent, clean grades that go under the radar.
LBB> Has colour always been a prominent creative force in your life? How did you express your creative side growing up in Michigan City, Indiana?
Jenny> Growing up, I was unaware of colour correction as a concept; however, I was interested in art from a young age. I remember winning a few regional poster design competitions. When I got to the point in school where you could choose your electives, I took as many painting, photography, and ceramics classes as they would allow. In high school, I was really into music and going to punk and hardcore shows. Around this time, I discovered that a career in furniture and interior design could be interesting (every house I was in as a child was full of oak and beige furniture). I remember feeling inspired when I received one of those bendy lamps with the different coloured globes on the end for Christmas one year.
LBB> You studied photography at college in Chicago before moving to New York. But what brought you to colour grading and Company 3?
Jenny> I didn't know much about Company 3 before I started working there. Luckily! I would have been far too intimidated to meet with anyone had I known. Before joining, I worked in a gallery mainly selling paintings, and unfortunately, they had to close their doors. At this point, I decided art sales wouldn't be my lifetime career and needed something else. I had graded some shorts in college for friends, and one of them put me in touch with someone at Company 3.
I started in the production office, handling scheduling primarily, and I knew immediately I wanted to try to become a colourist. I would stay late, bothering the overnight prep team about Resolve, EDLs, offlines, etc. And when there was an opening in that department, they generously hired me. I am eternally grateful for all the time and effort many people put into training and teaching me how to do this job (Jaime O'Bradovich was incredibly generous with his time and had great patience for my endless questions). I was no doubt determined and truly worked so hard, but I couldn't have done any of it if several people hadn't seen that potential in me initially, and I remain grateful to each of them.
LBB> How large of a role did Tom Poole play in your development? What of the biggest lessons learned from those early days still influence you today?
Jenny> Tom played an enormous role in my career, and I am forever indebted to him. I learned so much watching him grade day in and day out during my years assisting him. It also wasn't just learning about colour grading but how to run a room, deal with stress under pressure, and manage client expectations. I use many skills every day in my work, which I learned in Bay 3 from Tom Poole.
LBB> How does your colour process start for you? Are you a mood-boarder? A trial-and-error fan? An avid reference image collector? How does your photography background shape this process?
Jenny> Reference images can certainly be helpful. The words we use to describe colour are vague and can mean different things to different people; therefore, having shared visuals can help align everyone from the jump, especially when working with someone new. Aside from that, I like to have some time before sitting down with clients to explore and try out some options. I watch the film and consider how I can best use colour to assist in the storytelling.
LBB> What kinds of commercial projects excite you most? You've colour-graded projects for Verizon, Uniqlo, Nissan, McDonald's, and more - what are some of your favourite projects so far?
Jenny> Part of what makes this work so fun is the people you get to meet and work with, and especially for commercial work, it means different clients almost every day. A project I did for MGM (‘Find Joy in the Beauty of Bellagio’) was one of the most fun and charming projects I've worked on. The creative was so whimsical and unexpected.
Many commercials can be very straightforward, which is the best way to sell the product, but sometimes you get to work on something completely unexpected, and it's hard not to get excited about those projects.
LBB> You've also worked on award-winning music videos and short films - what have been some of your highlights in those worlds?
Jenny> This is where I most often get to work with some dear friends - the best part of the job. DP Alexa Wolf and I have done more shorts (and some features) together than I can count. She's so talented, and it's always a pleasure working with her. I just finished working on another with director Grace Rex, who is making some of the most exciting shorts out there (shot by the incredible Charlotte Hornsby). Those days, I feel like I'm getting away with something because none of us feel like we're working.
LBB> Do you have colour-grading opinions/takeaways that might surprise some people?
Jenny> It's not just other films and photography that I use as a reference when grading; my background in studying painting and design also comes into play. That's where I first honed my taste and preferences regarding visuals. Those palettes are certainly a part of how I also think about colour.
Separately, when I was still shooting photography, I was mainly doing documentary work. I spent so much time trying to make my images look untouched and exactly how they looked to me when I took the photo. Sometimes, I'll see a clean, crisp, perfect look, and I greatly appreciate the work that can go into that. Wild grades can be exciting and fun, but I always have to tip my hat to an excellent, clean grade, which might go unnoticed by the general public.
LBB> For people who want to become colourists - what advice would you give them, and what pieces of work would you show them to share the potential of a good grade?
Jenny> As the tech advances, it becomes easier and more accessible for anyone to pick it up and get started. The free version of Resolve is excellent, and you can run it on just about any computer. There are also great podcasts and YouTube channels. I was lucky enough to be in the room with a colourist every day when I started, but it is certainly not the only path. So much good work is happening out there; I'm inundated on Instagram daily. I would start following as many colourists whose tastes you respond to. Or go to the Company 3 website; the incredible work from there alone is staggering.
LBB> Is photography still a big part of your life? What do you get up to outside of colour grading to refresh yourself and inspire your work?
Jenny> Photography will always have a place in my life. These days, it's more buying photo books and zines and discovering new work rather than shooting more work of my own, though.
When I first started at Company 3, I worked constantly, juggling assisting duties while trying to squeeze in as much of my work as possible. I didn't have time for much of anything else. Now, I get out from behind screens and into the world when I'm not working. I take advantage of the endless art, photography, and film in New York; it is undoubtedly my greatest pleasure, and it invigorates me. Getting excited about other work being made inspires me to sit behind the panels and contribute. I always have a running list of shows I'm trying to see before they close. I only succeeded in getting to about half of them; there always must be more time!
I've decided to pick up the camera again to do some photography while travelling. I like having 3D slides of all the places I've been. (Thank you to the talented photographer, Britni West, for the rundown on 3D cameras!)
