Making the Grade: Crafting a Lasting Impact with Henry Howard

Henry Howard is a dynamic colourist who has applied his unique touch for illustrious brands such as Nike, Adidas, and Burberry, and partnered with iconic artists such as Ed Sheeran and Skepta. 

From his humble beginnings as a production runner, Henry’s tenacity saw him rise swiftly in the UK’s top post houses. Embracing roles from Head of Colour to an invigorating freelance stint, he now champions ELMNTL’s vibrant team, widely acknowledged for their unwavering passion. A lover of challenges, Henry thrives in collaborative ventures that push creative boundaries.

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?

Henry> Going through uni, I worked a lot on the production side as a 3rd and 2nd AD for feature films. From there I moved into DITing and found an increasing interest in post production, which ultimately led me to colour grading. I was also very clumsy on set, so it all worked out! I took a runner role at a post house and, like most, started serving tea and coffee to colourists in their dark rooms. Being a fan of cinema, I loved the grade suite environment and really my passion progressed from there.

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

Henry> I take the attitude that every new grade needs to be my best grade. Treating every project that way ensures that you don’t get complacent. You’re constantly looking forward to new projects and constantly striving to get better and better. If I have to name a few, I can't deny that NDubz comeback single 'Charmer' gets the most positive reaction when I chat to non-industry people. I also did some lovely Primark films with Jack Bowden, which really elevated my career in the Fashion sector.

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

Henry> Spending time with Longform colourists was a great place for me to learn the essential craft, understand the tools at a colourist’s disposal and perfect the art of communication to bring each project to life in a way that’s true to the director’s vision. From there, I’ve mainly honed my craft through the journey of each of the projects I’ve worked on and the directors I’ve collaborated with. Colourist Caroline Morin was an amazing person to work alongside, because she has such a wealth of knowledge and technical expertise. She taught me a lot!

LBB> Tell us more about your creative process

Henry> I always start by viewing what’s been shot, putting the camera LUT on to see what naturally occurs in the footage. This prevents us drifting too far from what the clients are used to seeing straight away. You want them by your side and to go on that journey together. We discuss the references the director and DOP had in mind and then see what similarities can be found between those and the footage they shot. Then we start highlighting those details into the rushes and pulling the look out from there.

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

Henry> I’m a big fan of cinema and film, and especially now where the standard of grading in cinema is so high. There are so many more daring and versatile looks, which I find really inspiring. I like working with a clear head, and lifestyle is a huge part of that for me. Getting outside and being in nature, going for a run and moving my body really helps my mind focus. 

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?

Henry> Both formats have their benefits. I can’t deny that I love the opportunity to work on film and I’m often asked to make digitally shot projects look like film. However, the digital cameras on the market now are pretty incredible, so I often consider not applying grain to the image now. You can get such high end, cinematic, crisp looks now, that you really have to think twice whether it’s right to add such defects to it.

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?)

Henry> Grade plays a huge role when working with brands. The differences between high fashion work and commercials is so large that naturally grading will be approached differently too. Commercial work is focused around selling a product. Initially clients will want the project to look very bright and appealing making sure the audience can see what’s being sold to them. It’s a juggling act really because you obviously have to listen to what the client wants and make sure they’re happy, but at the same time you don’t want to blow away all the highlights and that’s what you remember it for. With experience, it’s possible to gain a whole arsenal of tricks to make the clients happy with retaining details with brighter areas.

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

Henry> Understanding and communicating what each of us wants from the project is definitely the best place to start. It's very important to hear others’ ideas and also to express your own, to emphasise your passion towards each project. All of us can feel vulnerable at times when sharing our ideas and our work, as we all want to instil confidence in ourselves and the director, but bouncing ideas off each other is what creates a true collaborative environment, which builds the trust and ultimately achieves the right result, which makes each relationship so much more rewarding. 

LBB> What advice would you give to a budding colourist?

Henry> Not every path into this industry is the same. There are a lot of different ways to get to where you want, all equally valid, but it’s very important to know how a post production environment works and runs. Understanding colour workflows and technical pipelines are crucial if you want to be working on high end commercial work or feature films in the future. When it comes to the work, don’t be offended if someone doesn’t like your first pass and don’t take it personally. It’s a very subjective discipline and personal taste varies so much. At the beginning of my career, I was always very anxious on how a client would react to my grades, but time and experience have enabled me to approach my work with confidence.

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

Henry> I think before you even start work, nailing the experience in the suite for all involved is the first step to creating a great grade - whether you've worked together before or not, every session is a reset. Once you’ve established a rapport, got everyone's creative juices flowing and got your grade playlist on, you’ll find everyone will open up more to what they want, share stories from the shoot and uncover those little details for you to pull out.

The ultimate goal is to make sure the grade has a lasting impact. You want that project to be referenced for future briefs; something that’s unique and makes you feel good, but you don’t quite know why? To me, that’s a great grade.

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

Henry> We can’t ignore that anyone can download tools like DaVinci Resolve from home. I think it’s great that people have accessibility now, as we now have a wider talent pool of colourists from many different backgrounds. Instagram also connects colourists all over the globe and I love seeing a grade on my timeline, be blown away by it and then find out the colourist is on the other side of the planet!