Carlos Flores Fosters Collaboration and Experimentation at Forager

Carlos Flores is a co-founder of post-production company Forager Collective - a global network of editors, colourists, sound designers, composers, and VFX artists. Carlos himself is not only the group’s creative director, but also a skilled colourist and editor, having worked with brands like Nike, Apple, and Bape, as well as on music videos for the likes of Selena Gomez and Miguel.

Originally from Peru, Carlos grew up obsessed with American cinema and TV, idolising the mavericks of the ‘90s and ‘00s, like Quentin Tarantino and Paul Thomas Anderson. Inspired to follow this passion, he went to film school at NYU - at first, wanting to direct - but soon fell in love with the world of post, becoming a freelance editor and colourist.

After a series of successful collaborations with director Anderson Wright and DP Todd Martin,  Carlos forged a career for himself in both disciplines. However, as he progressed as a freelancer, he encountered constraints and realised that joining an established post company would likely require him to give up either editing or colouring. This led to him starting Forager Collective in 2019 with co-founder and executive producer, Ali Webb. 

“We wanted to build a collective that empowers creatives to work on diverse, high-quality projects, typically reserved for big post houses, without the constraints of exclusive contracts,” he tells LBB. “Our goal was to foster a collaborative environment where creativity and innovation could thrive while providing top-notch post-production services. This vision has driven Forager since its inception.”

LBB’s Ben Conway caught up with Carlos to discuss more about his career journey, and how he is keeping Forager “at the cutting edge of the industry.”

LBB> What’s the most important lesson or piece of advice you received early on in your career? How does it influence you and your work today?

Carlos> Reading ‘Rebel Without a Crew’ by Robert Rodriguez as a teenager taught me the importance of determination and creativity in breaking into the industry. This lesson has stayed with me, driving me to always stay curious and never stop learning. Embracing new technologies and experimenting with different techniques have become core aspects of my work, and also Forager’s. This mindset keeps our projects fresh and innovative, allowing us to adapt to the ever-evolving landscape of the post-production industry.

Above: Carlos' recent colour work for Porter Magazine

LBB> What was the project that changed your career?

Carlos> It was a series of collaborations with director Anderson Wright and DP Todd Martin right after film school that truly changed my career. We were all fresh out of school and eager to make our mark. Together, we created projects that received our first internet recognitions, leading to our initial talent representation. These collaborations were instrumental in establishing our careers and allowed us to be part of a significant generational shift in commercial filmmaking.

LBB> As a colourist and editor, what sort of projects are you attracted to today? You’ve worked with brands like Nike, Apple, and Bape, as well as on music videos for Selena Gomez and Miguel - what are some common threads between the work you choose?

Carlos> I'm particularly drawn to music-driven projects. There's a strong musical thread that runs through my career and the work we do at Forager. We've worked on numerous concert films and performances over the past few years, and these projects are evolving from simple event coverage into full-fledged cinematic events. The same goes for my work on digital magazine covers. As the industry shifts towards digital, these covers are becoming animated and involve a lot of CGI, which is incredibly exciting. This blend of music, animation, and cutting-edge technology is a common thread that ties together the work I'm most passionate about.

Above: Carlos' Paralympics 2022 work for Citi (feat. Menna Fitzpatrick)

LBB> You’re the creative director at Forager - how do your editing and colour grading skills translate to a creative vision for Forager’s work? And how have you developed your leadership skills?

Carlos> Being in the field for many years has allowed me to recognise artists who have that ‘X factor’ that sets them apart in the eyes of directors and clients. This ability helps me curate a team of incredible talent and maintain Forager's consistent aesthetic. As another colourist and editor in the roster, I'm able to speak their language, ensuring clear communication and a unified vision for our projects.

In terms of leadership, I've developed my skills through experience and a focus on fostering a collaborative environment. I prioritise open communication and active listening, encouraging my team to share their ideas and insights. By promoting a culture of respect and continuous learning, I've been able to guide Forager towards consistent creative excellence and innovation.

LBB> One of Forager’s mantras is to create an “independent and safe environment” for its talent - how do you help do this? Why is this culture so important for you and your talent?

Carlos> In my early freelance years, I experienced many challenges, such as being taken advantage of with rates and scheduling. It was tough to advocate for myself without seeming difficult or selfish. At Forager, we ensure our talent doesn't face these issues. We fight for fair rates, offer reasonable schedules, and provide strong support for their creative ideas.

This culture is important because it allows artists to focus solely on their craft. When they feel safe and valued, they are more likely to take creative risks and produce ground-breaking work. A supportive environment also attracts and retains top talent, as people are drawn to a place where their well-being and artistic freedom are prioritised.

LBB> What is a recent project of yours that you’re most proud of?

Carlos> I’m particularly proud of some recent collaborations with Entertainment Weekly on their covers for the movies ‘Furiosa’ and ‘Twisters’. These digital covers have evolved significantly over the years. In the past, they were simple static shots where we would just colour them and do some roto work for the logos. Now, they have become full cinematic pieces with complex camera movements and sets. We handle entire background replacements in VFX, add immersive sound, and I personally am involved in colour and some VFX work.

It's always fun experimenting with a medium and format that's evolving. Seeing Forager being part of that evolution is incredibly exciting. These projects are creatively fulfilling because they push us to innovate and adapt to new techniques, making each cover a unique piece of art.

LBB> What have been some of your goals for Forager and yourself this year? 

Carlos> In 2024, my goals for Forager include expanding our portfolio with more diverse projects and fostering a supportive environment for independent artists in even more territories beyond the usual LA and NY concentration. Personally, I aim to further develop my skills in emerging technologies, such as AI-driven post-production tools, to keep Forager at the cutting edge of the industry. Achieving these goals will involve continuous learning, networking with industry leaders, and maintaining a strong focus on our core values of creativity, innovation, and collaboration.