Making The Grade: Ben Rogers' Advice For Future Colourists

Having worked in post production since the 1990s and, despite traveling the world to master his craft (joining Oktobor / Silverscreen in New Zealand for three years), Ben Rogers is a Soho stalwart, moving back to London in 2003 with Framestore before heading up Glassworks’ colour grading department. He joined Gramercy Park Studios in 2013, cementing his reputation as one of the busiest and most in-demand colourists in the industry.

Classically trained on a number of different telecine machines, Baselight is now his weapon of choice. But whatever the system, medium or media, Ben’s passion for his work always shows through in his approach to each project where he aims to exceed expectations.

LBB> What was your first experience with the world of colour grading – and when did you decide that being a colourist was a role that you wanted to pursue?

Ben> On my first day as a runner at VTR Post Production on Dean Street, I was being shown around, and I saw Tareq Kubaisi grading with a room full of clients, and immediately I knew what I wanted to do.

LBB> What was the project that you felt really changed your career?

Ben> I had just taken over Glasswork’s Colour department from Tareq almost 10 years after he had inspired me to take up colour grading.

So probably Mercedes 'Ambition' directed by Johnny Green when he was at Knucklehead.

Not long after I had finished the project, I saw it popping up on quite a few agencies and directors' treatments as a reference, so that was a good sign!

LBB> How/where did you hone your craft, and did you have any particular mentors?

Ben> When I was in New Zealand, a colourist called Andrew Clarkson was really helpful and generous with his grading. Back in the UK working alongside Dave Ludlam, Matt Turner and Steffan Perry at then Framestore CFC was invaluable as well as very competitive, which is good for a department, as I soon got poached by a competitor.

LBB> Tell us more about your creative process - (e.g.when you get a project, how do you go about developing a look?)

Ben> Never a set format with that one. I will of course start by looking at all the treatments and refs from director, DOP and agency, discuss if there are any specific requirements that need to be corrected from location in grade. A test grade is a real luxury these days but can really help with establishing a look early on.

I will spend time looking at the selected shots in the timeline, and just start grading, what works, what doesn’t, what problems I can solve. I will look at shots at the start, middle and end, to help quicken the balance process, look at different FX options also, I will export grade wips to look at on different viewing formats, I try and keep the process collaborative, so I am listening to the room always.

Generally, you know when the room is happy, as conversation tends to go elsewhere when the grade is going well. 

I will always try and push the image too far and bring it back. I like to see how far I can push stuff before it feels forced, I like to take advantage of what is naturally available to me from the source.

Also with green screen shots, I will make a basic composite in grade to help the approval process, I do this a lot. I forgot to mention the deliverables, which can also affect the final look, so getting this info at the start of the job is helpful.

A good example of how I created a look was for Ford Ranger '100 days of Night', directed by Toby Dye from RSA films.

Enlisting people of Longyearbyen, Svalbard - the most northern town in the world, this film shows just how dark and tough life can be in the Artic Circle during the Polar night.

For 110 days straight, they live and work in -20° and complete darkness.

So that there was some available light, it was shot in summer, so we had to make that day for night without replacing backgrounds.

Really tricky, lots of tracking and grading down, and roto-scoping the car from the background all done in grade, we were really proud of this one as it included a cinema deliverable as well, so any little mistake would be shown 1000 times, we had to be on guard! It was well received by the client, agency and production company, and we won a Silver for best grade at the Creative Circle awards, great to be acknowledged.

LBB> From experience, we’ve found that colourists often love art and photography - when you’re out of the studio, what inspires you?

Ben> I love walking, best for contemplation I find. So, I love walking part way home from Soho. I go all different routes, so I pass through all different squares and streets and parks, so interesting. London is fantastic when you walk round and explore it, I still find London incredibly inspiring, I do take a lot of photos, some I post on the gram.

LBB> Colour grading is largely a digital affair, but there’s also been a resurgence of film over the past few years in commercials and music videos. What are your thoughts about working on film versus digital formats like 4K? And what are your favourite techniques for capturing a vintage or tactile feel?

Ben> I really don’t mind what format to be honest, as long as 'IT HAS BEEN SHOT WELL'!!

This is the thing, as long as the images have been shot correctly and or beautifully, this gives any colourist a massive head start.

I can generally get most digital formats to look like a host of different film stocks if required. I also enjoy grading film that has been scanned, it has a look straight away that I don’t need to emulate and can be taken advantage of. I use a bunch of filters, colour cubes, LUT’s and VFX. Tape to film is another nice old technique that we utilise sometimes when budget allows.

LBB> When working in commercials, what role can colour and a grade play in enhancing a brand’s assets and what sort of conversations do you have with creatives and clients about that (e.g. is there often a strategic/consistent ‘look’ for a brand? Can these be too heavy handed?) 

Ben> Each brand is really different, and they all have their own specific requirements, taste is very subjective and difficult to pinpoint for any single product.

LBB> How do you ensure that each colourist-director partnership is a success?

Ben> I listen and respect that a good director will let people do their jobs and give good guidance in the room.

LBB> What advice would you give to budding colourist?

Ben> I was asked this question by LBB before, and I said 'you have to love it and you have got to have drive'! This still applies but I think in this fast and saturated market you really have got to have good relationships with directors, agencies and clients as well.

LBB> In your opinion, what’s the difference between a good grade and a great grade?

Ben> I still love a grade that grabs my attention, and I want to watch it over and over again.

Something striking, I’m like a moth to a flame.

LBB> How is the craft and trade of colour grading changing?

Ben> It feels like there will be a lot more assistance from AI, but that’s obvious.

I look forward to being able to grade in an AR environment to be honest, being able to work on a projected control panel and being able to change the monitoring with a swipe of my hand sounds fun and possibly more interactive with the client and director?!

Could it make the process even more creative?

Keeping the right people involved in the process is important to me.