Meet the Colourist: Nirmal Sharma

Nirmal Sharma is a senior colourist at FutureWorks in India, an end-to-end media services company specialising in VFX, post-production, and camera rental services.

Sharma is best known for his work on Merry Christmas (2024), Babumoshai Bandookbaaz (2017) and Ek Love Ya (2022). With a background in editing, Sharma has explored a wide variety of technology solutions over the years, which has supported him in his passion to push his creative boundaries. He currently works on colour for a variety of content, including feature films, episodics, short films and more.

Q> Tell us about your journey to becoming a successful colourist?

Nirmal> My journey began in 2009 as an editor and finishing artist. As I delved deeper into the post-production world, I discovered the creative potential of the DI process and decided to pursue it. Over the years, I have honed my skills using a wide variety of solutions, including Baselight. My background in editing has also allowed me to incorporate compositing into my grading, enhancing the visual storytelling of each project.

Q> What sort of content do you work on?

Nirmal> As a colourist, I have worked on a diverse range of content, including feature films, episodics, short films, documentaries, and indie projects. Each project offers a unique opportunity to enhance the visual aesthetic, set the mood, and ensure consistency.

I have also worked on music videos, where colour grading plays a significant role in conveying the mood and strengthening the storytelling aspect of the song.

Q> How do you think colour shapes the way audiences perceive TV?

Nirmal> Colour plays a pivotal role in influencing how audiences interpret the director's narrative. It sets the tone for the content, conveying emotions and creating atmosphere.

Colour has long been a powerful tool in shaping audience perceptions of film and television, with its impact continuously evolving in response to advancements in technology, shifts in storytelling techniques, and changing cultural dynamics.

Q> You work on Bollywood and international productions – how does the use of colour differ between these?

Nirmal> Colours often carry cultural and symbolic meanings that can differ between regions. In Bollywood productions, specific colours are often used symbolically to express emotions, themes, or cultural values that strongly resonate with Indian audiences. For instance, vibrant and bold hues are frequently associated with celebrations, weddings, and festivals in Indian culture. Conversely, international productions may utilise colour differently, aligning their choices with the cultural context of the story being portrayed.

Q> How do you like to work with the director and cinematographer on a project?

Nirmal> I prefer to have an initial conversation with the director and DoP before starting work. This allows us to discuss their vision and creative aspects. I believe in respecting the creative vision of the director and DoP while also bringing my expertise and artistic sensibility to the project. I aim to enhance their vision through colour grading rather than imposing my own artistic preferences.

Collaboration involves striking the right balance between respecting the creative intent and providing suggestions or insights that enhance the overall quality of the project.

Q> What is your career highlight to date?

Nirmal> One of the most rewarding aspects of my career has been the opportunity to work on a diverse range of projects that have challenged and pushed my creative boundaries. Building strong relationships with talented professionals across the industry has been invaluable, and these collaborations have significantly contributed to my growth.

Working with my current company, FutureWorks, has been particularly fulfilling, providing me with opportunities to collaborate on innovative projects and further refine my skills. The sense of accomplishment that comes from seeing a project come to life, knowing that my contributions played a role in its success, is something I consider a major highlight of my career.

Q> Can you tell us more about your work on a recent project?

Nirmal> I recently worked on the 2024 films Merry Christmas and Malaikottai Vaaliban – both shot by the talented DoP, Madhu Neelakandan. I joined the post-production phase early on, collaborating closely with Madhu and the directors to shape the visual aesthetic of each film.

For Merry Christmas, the goal was to create a look that balanced festive warmth with emotional nuance. We achieved this through precise colour grading, using a vibrant palette to enhance the joyful elements while carefully adjusting tones to add depth to the more intimate moments.

We took a different approach on Malaikottai Vaaliban, aiming for a more dramatic, high-contrast visual style. The colour palette leaned towards earthier tones, reflecting the film's intense and action-driven narrative. We drew on visual references from both classic Indian cinema and modern global films to strike a balance between traditional and contemporary aesthetics.

Working with Madhu was a key part of the process, as we frequently discussed how colour, light, and texture could be used to reinforce the story’s emotional and thematic elements. One of the challenges was maintaining the distinct visual identity of each film while working under tight timelines. Ultimately, our collaboration allowed us to stay true to the director's vision, ensuring that the final grade not only enhanced the storytelling but also added a layer of visual richness to both films.

Q> What advice would you give to aspiring colourists in India?

Nirmal> My advice is to focus on both technical skills and storytelling. Master the tools, but also develop an eye for how colour influences emotion and narrative. Study films from various cultures to broaden your visual understanding. Collaborate with experienced professionals to learn how colour integrates into the creative process. Stay updated on evolving technology and techniques, and be patient—building your craft takes time, but persistence will lead to success.

Q> Can you tell us about your grading suite and how long you have been grading on Baselight?

Nirmal> I work at FutureWorks in a state-of-the-art grading suite, supported by an exceptionally talented team of technicians who ensure everything runs seamlessly. The facility is equipped with cutting-edge technology, allowing me to deliver precise and creative results efficiently. I've been grading on Baselight since 2012, and its advanced capabilities, combined with the support of the skilled team here, have been essential to maintaining a high standard of quality in my work.

Q> What is your favourite thing about Baselight?

Nirmal> What I appreciate most about Baselight is its intuitive and user-friendly interface. It allows me to access features seamlessly, making the workflow incredibly smooth and efficient. This streamlined approach enhances productivity, allowing me to focus more on the creative aspects of the project rather than getting caught up in technical complexities. Baselight’s ability to support creativity while maintaining efficiency is one of its greatest strengths.

Q> Have you tried Baselight 6.0?

Nirmal> I started working on Baselight 6.0 a couple of months ago. It has many new tools that help in creating and modifying looks. One tool I particularly like is Halation, which gives diffused and soft highlights. There are many more new tools as well.

Q> What’s next for you?

Nirmal> I'm currently working on some HDR projects for Sony LIV and Hotstar, and a couple of Hindi feature films.