Making the Grade: Oisín O'Driscoll's Moment of Transformation

Oisín O’Driscoll is senior colourist based out of Harbor's Chicago studio. Originally from Ireland, Oisín began his post-production career at Windmill Lane and EMC in Dublin, before relocating to London in 2014 to join The Mill. He then moved stateside to Chicago to become head of colour at The Mill Chicago in 2020.

Accolades include a Silver at the Creative Circle Awards for 'Still the Most Shocking Second a Day,' Jeep’s #1 Superbowl spot in 2020, an AICP nomination for Jeep’s 'Groundhog Day' and Sephora’s 'Identify as We,' as well as a UKMVA nomination for Radiohead’s 'I Promise.' O’Driscoll also collaborated with Dua Lipa and Martin Garrix on 'Scared to Be Lonely,' which received an MTV Video Play Award. Additionally, he graded the #1 Superbowl spot from Rocket Mortgage in 2022.

Agency clients include Highdive US, Leo Burnett, Droga5, FCB, DDB, Energy BBDO, MRM/McCann, and R/GA. Amongst many others, O’Driscoll’s branded content portfolio includes Calvin Klein, Gucci, Riot Games, Audi, Johnnie Walker, Jeep, Rocket Mortgage, and Ralph Lauren.

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?

Oisín> My journey into the vibrant world of colour grading began at just 11 years old when my school brought in filmmakers to collaborate with students on a short film. We experienced the exhilarating process of filmmaking, from scripting to costume and makeup. But what truly ignited my passion was when they projected Final Cut Pro 2 on the wall and demonstrated the editing process. In that moment, I knew I wanted to dive into the world of post-production.

A few years later, I enrolled in a summer school program in filmmaking led by those same inspiring filmmakers. Together, we created a series of short films, and I eagerly took on the roles of editor and colourist using Final Cut Pro. The joy I felt while shaping each frame was electrifying! I continued with this program for two more years, fully immersed in an environment that felt like something out of 'Fame', surrounded by talented musicians, makeup artists, and fellow filmmakers all pushing their creative boundaries.

It wasn’t until I attended the National Film School of Ireland, studying film and television production, that I encountered the magic of high-end post-production tools like DaVinci Resolve. Watching it in action was a revelation, I felt an immediate connection to this craft that beautifully blended the technical aspects of editing with a creative spark that inspired me. This was my moment of transformation! My passion shifted, and I dove headfirst into the world of colour grading, excited to explore and master this incredible field.

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

Oisín> The project I felt impacted my career most was the music video for Lana Del Rey 'High By The Beach' with director Jake Nava. It was my first time working with a big director, one who I had followed for years and idolised his work and it was for an artist I loved. Everything about the project was hitting me with pure excitement but also nerves. It felt like a real make or break it moment and I wanted to impress and do my absolute best. 

The project went great and ended with Jake telling my colleagues how impressed he was by me and that I had a bright future. That feedback really made a change in my self-confidence as I think anyone trying to develop creatively has felt, you hit points where you second guess and question, "Am I doing it right" to get that sort of feedback can have a huge impact.

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

Oisín> I first started learning my craft back in Ireland at Windmill Lane, where I was lucky enough to work with Dave Hughes. He taught me a ton, film scanning and restoration, how to prep jobs for advertising and long form and from there, I moved on to work with Eugene McCrystal, who’s a total tech genius with an engineering background. His small operation at the time had me wearing a lot of hats, assistant, QC, tape decks, and online editor.

That hands-on, problem-solving environment was invaluable, and I learned so much by just getting stuck in and figuring things out on the fly.

But it was really at The Mill in London where I started to truly hone my craft. There, I had the privilege of working alongside colourists like Seamus O'Kane, James Bamford, and Matt Osbourne. They each taught me so many creative tricks and techniques, and more importantly, the joy of experimenting and pushing the boundaries of a grade. Seamus has been a mentor and confidant over the years.

Our time together was invaluable, and his guidance went beyond just colour grading. He taught me patience, how to lead a team, and, perhaps most importantly, how to question everything to always strive for better.

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

Oisín> My process always begins with reviewing the project’s deck or treatment. This is where I gain a clear understanding of the creative direction and vision that the team has already established. I look for key references, mood boards, and any visual language that has been developed thus far. This gives me an insight into the aesthetic goals and the emotional tone that the project aims to convey.

Once I have a grasp on the direction, I often bring in additional references of my own, sometimes from art, photography, films (gotta love shot deck) and even AI generated palettes and imagery lately. I’m constantly exploring new sources of inspiration, and this helps me to refine the visual language even further.

From there, it’s into the exploration phase. I like to approach the footage with an open mind, experimenting with different tools and techniques allows me to "feel out" the material and see where the footage can take me.

I don’t aim to get it on the first pass; instead, I try multiple approaches to see what resonates most with the narrative and emotion and give the clients a chance to see different approaches. 

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

Oisín> My mum’s an art teacher, so growing up, I was always dragged to art galleries—whether at home in Ireland or on vacation. As a teenager, I was not thrilled about it! But, as much as I complained, I’ve got to admit, it definitely rubbed off on me. Now, whenever I travel, I make a point of visiting galleries. I’ve come to appreciate all sorts of art… well, most of it—some of those video installations still leave me scratching my head!

I’m also a huge nerd—big into video games and Dungeons & Dragons. Both inspire me in different ways. With video games, I get lost in the breathtaking cinematics and those immersive, fantastical worlds. It can be a visual feast! And D&D? It’s a whole different magic. The power of imagination is incredible—I love how the game lets you mentally picture epic scenes unfolding in your head. It’s like a collaborative art project, but with dice.

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?

Oisín> Having started my career with film restoration for the Irish Film Archive, I developed a deep appreciation for projects shot on film. One of the standout experiences was working on the BAFTA-winning short film 'Home', shot on 16mm film. My training in film scanning at Windmill Lane and The Mill provided me with an in-depth understanding of the film workflow, which has been invaluable for identifying and addressing any issues arising.

I’ve also seen a growing trend toward digital-to-film transfers, which has evolved significantly in recent years. This process allows us to retain much of the tactile, textured quality of film stock while preserving the creative integrity of the digital grade. When I approach a project this way, I often add soft halation, gate weave, or subtle diffusion to capture the authentic feel of film, enhancing the vintage aesthetic while maintaining the benefits of a digital workflow. 

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?

Oisín> The conversations between colourist, director, cinematographer, creatives, and clients are centred around creating a visual look that is aligned with the brand’s core identity, emotional tone, product accuracy, visual focus for the viewer and consistency of campaign. It’s the perfect mix of artistic and strategic and as someone with ADHD it keeps me enthralled and on my toes. 

The collaborative aspect of commercial work is substantial, especially with a compressed timeline to achieve the grade. This timeline pressure adds complexities, as you have a lot of collaborators on the project each with a vision for the spot. There may also be creatives that you’ve never met before with whom you have to build trust, a common language to express colour, and openness for ideas and creative feedback in that short period of time. 

There’s often a delicate balance when translating a brand's look onto new footage. Overly heavy-handed grading can detract from the intended subtlety, especially when campaign teams change, and creative visions evolve. The art lies in finding which aspects of the original look can be brought forward to make the footage shine, while still fitting seamlessly within the established brand world.

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

Oisín> For me, a successful colourist-director partnership starts well before the first session on a project. Establishing this relationship early is essential. I begin by reviewing the director’s treatment and analysing both their and the cinematographer’s past work to understand any recurring colour themes in their approach. Ideally, I like to collaborate with the director on a pre-session to establish the look on some stills, especially since they’re often unavailable for the final session, or it’s managed by the agency instead.

When I have a clear grasp of the director and DoP's vision, I can better ensure the final grade stays true to their intent. Unfortunately, there are times when this alignment slips, often due to the “offline look” taking precedence over the original creative vision.

This shift, I believe, often comes down to visual exposure: as people repeatedly view the offline edit, they become accustomed to its look, much like how a colour can seem to dull after staring at it for too long. In these cases, it can be challenging for the team to break away from that initial impression, even if it diverges from the original creative intent.

LBB> What advice would you give to budding colourist?

Oisín> There are many facets to becoming a successful colourist: mastering the technical side, understanding workflow, refining your creative eye, and honing your communication skills.

For me, getting a solid technical foundation was step one. From there, I learned the importance of workflow and how colour fits into the broader post-production pipeline, particularly when coordinating with VFX teams. Every project has unique technical requirements and workflow quirks, and as a colourist, knowing how to adapt and optimise these can set you and the project up for success.

Developing your eye is a journey, and everyone takes it at their own pace. I remember early in my career, it took ages before I could look back at my work and think, "That looks amazing!" Like most people starting out, I was highly critical of my own work. But over the years, I learned to trust my instincts, knowing when to push a look further, when to start over, and when to finally say, "Yes, this looks awesome."

For anyone getting into colour, it’s crucial to experiment, seek feedback from peers, and be open to constructive criticism. It’s an adventure, so enjoy the ride!

And then there's communication, an often-overlooked skill in colour grading. Your sessions will be spent leading a room full of clients, and you’ll be working closely with them for long hours. As the Irish say, you need to have some banter! You could produce a gorgeous grade, but if you leave a bad impression on the people you're working with, they might not return. So, keep it light, be personable, and remember: the experience you create for clients is just as important as the work you deliver.

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

Oisín> A good grade achieves technical balance and visual cohesion, but a great grade goes deeper. It brings emotional resonance, guiding the viewer through the narrative. It’s about elevating the imagery, drawing the viewer into each frame as though on a visual journey. A great grade doesn’t just enhance the shot; it amplifies its full potential with creative finesse, making each scene feel like a stunning work of photography.

Sometimes, a great grade is immersive and subtle, so natural that you don’t consciously notice it, while at other times, it’s a bold, visceral choice, visual slap that commands attention or shifts the tone. It’s this intuitive understanding of when to blend in and when to stand out that defines the leap from good to great.

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

Oisín> The role of the colourist is evolving into a more collaborative, creative, and specialised discipline than ever before. The industry’s demand for faster turnarounds, meticulous detail, and technological advancement has redefined the skill set a colourist needs.

A significant shift is also occurring in the approach to grading diverse skin tones. There’s a growing emphasis on cultural sensitivity and authentic representation, which requires a deep understanding of how various skin tones interact with lighting and colour. Today, a skilled colourist must balance this authenticity with the emotional tone of the narrative, enhancing the story while respecting the diversity of the real world.

We’re also entering an era where AI is beginning to shape the industry. For instance, Filmlight has integrated powerful face-tracking tools into Baselight, which significantly enhance speed and efficiency for colourists by automating time-intensive tasks.

Their approach exemplifies AI as a supportive tool, streamlining processes without removing the colourist’s control. While there’s some apprehension about AI evolving toward “auto-grading,” I believe we’re still far from AI replacing the human touch.

Colour grading requires subtlety and intuition that go beyond mere “looks.” AI might one day create technically proficient “looks” but creating an original, nuanced grade is a different art form altogether. AI models, trained on past styles, could even develop biases—like favouring the flat “Alexa look” or teal-and-orange palettes popularised in certain eras, without the ability to innovate from a fresh perspective.

Ideally, AI tools will continue to enhance our capabilities, as Filmlight has done, by optimising our workflow and giving us more time for creative decisions. Only time will reveal the full impact, but for now, AI seems best suited as an ally to, rather than a replacement for, the human eye and intuition that define true colour artistry.