Making the Grade: Why the Craft of Colour Is in Constant Evolution with Alex Nerzic

After studying film/cinema at University in France Alex moved to London and, like most people in this industry, started his career in post production by working as a runner. He was eager to learn and, despite not having a background in colour science, he taught himself the basics by reading software manuals during his spare time. His first break into colour was at Big Buoy, Big Chop, which is now Smoke and Mirrors, a Tag company, as an assistant colourist in 2018. He was then promoted to colourist in 2021. He made the move to Creative Outpost in 2022. He has three Grading award nominations under his belt. Namely The Young British Arrows Colourist 2022 and 2023 and The Shark Awards Best New Colourist categories.

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? 

Alex> I was in university in France when I did my first grade and I loved the possibilities of messing around with colours. I didn't realise then that you could actually make a career out of being a colourist. It was only when I got to London that I learned more about the craft and post-production world. Since then, all I've wanted to do is be a colourist.

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

Alex> 'Kipchoge: The Last Milestone' marked a pivotal point in my career when I was an assistant. There were a lot of challenges, handling all the different formats and juggling with more than 20 drives. Conforming, doing the online with titles, VFX shots and audio tracks – it was a bit intense, being my first time leading such a long project. But building the workflow from scratch not only improved my technical skills but also boosted my confidence in taking on complex, longform jobs. This experience has really shaped how I approach projects.

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

Alex> I learned a lot when I was the assistant of three colourists at Smoke and Mirrors – Mark Horrobin, Mark Meadows, and Jonny Tully. Their patience and how much they shared with me is something I'll always remember.

LBB> Tell us more about your creative process 

Alex> I always start by checking out the references given, and I try to have a chat with the director and/or DOP to dig a bit deeper. After that, the look kind of comes naturally. I experiment with different balance, contrast, and saturation. I ask myself, "What happens if I push it further?" A grade might seem good until someone elevates it even more. You’ve got to try things out to really know. 

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

Alex> Outside the studio, I get inspired by watching loads of music videos, ads and movies. But I also believe that the simple act of looking through a window can be a source of inspiration.

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?

Alex> I don't really have a preference between film and digital formats. As long as the footage is well-shot, I'm good to go. When aiming for a vintage or tactile feel, my focus is on nailing the highlight and lowlight roll-off, and ensuring that vibrant colours have a solid density. It's all about capturing that authentic and nostalgic feel, regardless of whether it's on film or in digital.

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?) 

Alex> Making sure the product colour matches perfectly is a priority, regardless of the stylistic approach. While heavy-handed styles can be impactful, it's important that the product colour remains authentic. The challenge is finding the right mix of a unique style while keeping the product colour genuine.

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

Alex> I think it's important to sense the atmosphere when a client comes into the suite. People have different preferences – some like to jump into the session, while others prefer a chat beforehand. Good communication is crucial. I often schedule a call when I receive feedback to ensure we're aligned and on the same page.

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

Alex> It can depend on different things. It's important to not overthink and remain open to possibilities. Being too satisfied with your grade can limit the potential of exploring and refining.

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

Alex> Since Covid, live streaming colour grading sessions have continued to be in demand, where some clients can’t attend on the day. This does highlight the need for consideration about which monitoring devices are being used to review. There are viewing condition considerations too, so it should always be in a controlled lighting environment. New streaming options are emerging and Creative Outpost's bespoke streaming solution is an example, providing more flexibility and customisation for these sessions.

The craft of colour grading is in constant evolution, marked by the introduction of impactful tools each year. HDR has solidified its position as a standard for a majority of movies and series. Additionally, the integration of enhanced AI tools in colour grading software is simplifying tasks that were once challenging. While these tools aren't perfect, we can expect that new and more sophisticated tools will emerge in the coming years.