Get to Know Jogger Studios' Henry Howard
Jogger Studios recently announced the arrival of colourist Henry Howard to its roster.
Since making the move to Jogger from ENVY, he’s built an impressive portfolio of work for clients including Lyft, Spotify, Dior, Unicef, Dockers, Hugo Boss, Tesco, Asics, RMHC and Not On The High Street.
Here, Henry discusses why he made the move, his first creative milestone and what drives him creatively.
Q> Why did you decide to make the move to Jogger?
Henry> I’ve admired the work of Cut+Run for a long time, they’ve produced the best editors in the industry. So when I was approached by their sister company Jogger Studios, I knew it could be something special.
Q> What is it about the team there that clicks for you?
Henry> Everyone is so passionate, whether it’s about the next project coming in, the latest film out in cinemas or a new podcast everyone is listening too. They have really opened my mind and exposed me to so many cool things I wouldn’t have naturally reached for.
Q> How did you first get in the industry? What was your very first job in the industry?
Henry> Ahh dear! As a teenager I was part of a local theatre group and through that I found someone who was making a feature. So my first job was as a runner on that independent horror film shot all around the UK and at Three Mills Studios. By the end of the production I had been promoted to 3rd AD. It was called ‘Community’ and you may see me in the background of a scene!
Q> Where did you learn and hone your skills as a colourist?
Henry> I basically annoyed Vicki Matich at ENVY whilst I was in the online MCR assisting. Essentially though, most of the skills came from doing favours and low-budget jobs after work. Nothing is more valuable than getting your hands on the kit with all kinds of footage to practice on.
Q> Before doing what you do now, did you work in any other field/have any different career path?
Henry> I’ve always been captivated by the film and TV industry. As a teenager I worked at a cinema knowing I wanted to be a part of that one day. When at uni I managed to work on a couple of features, shorts and music videos and that spurred me on. (You may also see me in the background of a Foals music video). I initially wanted to direct but once I discovered grading I fell in love with it.
Q> And which creative talents in your field have inspired you in your own career?
Henry> My older brother is a colourist and I’ve always been inspired by his work, especially his grade on The Rolling Stones - Ride Em On Down, after seeing that I knew I wanted to follow in the same footsteps.
What Sam Levinson did with Euphoria was heavily influential to me as well, the camera techniques and the grade is unreal! To be honest with each new film/series/music video that I see, there is something new and different that I am grasped by. The inspirations are constantly changing, which is what I love about this line of work.
Q> What was your first creative milestone in the industry – the project you worked on that you were super proud of?
Henry> I graded a short film called ‘Set Adrift’ directed by Jennifer Sheridan which was screened at festivals world wide. It was my first high profile project and it pushed me to take on as many projects as I could after that.
Q> And what recent projects are you proudest of and why?
Henry> Sam Campbell’s: Get Real Dude which is on All4 was a great project to be a part of from start to finish. It was the first comedy sketch show I’ve done and I genuinely found it so funny, so it was a pleasure! We also got to create so many different looks which was exciting and challenging.
More recently we collaborated with our San Fran office on a project for Lyft Up. We’ve developed a workflow where once the edit is locked we can start the grade straight away in the UK while San Fran is sleeping. The workflow also allows us not to have to transfer huge files back to them for the online. This will hopefully bring more work from the States.
Q> Do you have any personal or side projects on the go? What is it, what inspired it and why is it important to you?
Henry> A couple of years ago i stole my girlfriend's 35mm camera (she eventually gave it to me…) I’ve mainly been using it when I travel to capture moments without over-shooting. I do have plans to do a photo series around Soho with night and day comparisons. I love London and I see so many images of how it used to be back in the day. I want to document Soho for myself so I can look back and see how it compares to the future.
Q> What really drives you creatively?
Henry> Most weekends my girlfriend and I will do a long walk somewhere around the city. We pick a new place we haven’t been to before and just explore. The mixture of culture, colours and sounds inspire me greatly. Around every corner there’s a totally different aesthetic to the one before.
Q> What are the aspects of your work that you really obsess over?
Henry> I work really hard on skin tones. I think it’s really important to be able to keep an aspect of realism when it comes to that. There are times where I’ve seen them be pushed too far and it takes me out of the moment. I think they need to be part of the atmosphere, not setting their own one.
Q> How would you describe your approach to your work?
Henry> Versatile for sure. I’m still developing a signature style so I’m experimenting a lot. I try not to force in colours that weren’t intended by the director. The director is the key, I start every grade discussing with them what their vision is - then its my job to bring that to life!
Q> When it comes to enjoying the creativity of others, what sort of thing excites and inspires you?
Henry> Other people's excitement. When people are talking about how excited they are about their work, their music, their photography - seeing that buzz from someone makes me want to go out and get that same feeling. When directors come into the suite and they’re so excited to see their project come to life its really special and pushes me creatively.
Q> Outside of work, what are you passionate about?
Henry> West Ham United for my sins.
