Pro Hello: Dan Hills and Felipe Szulc

As the Technicolor-fuelled mushroom cloud overshadows the post-production world, executive producer, Dan Hills, and senior colourist, Felipe Szulc, seek to shine a celebratory light of independence and individuality through the art of colour. The pair met during their time leading the colour department at The Mill, London and are keeping the partnership alive with their latest venture, Fawn.

The duo bonded over a shared understanding that colour grading is more than just a technical process, it’s a collaborative art form that transforms raw footage into visually stunning, emotive experiences. Fawn works side by side with filmmakers, agencies and brands to realise their creative vision, ensuring that every piece shines with unique character and depth whether for films, commercials, music videos or digital content.

Being a nimble outfit in today’s market allows Fawn to not only adapt to the ever changing industry landscape, but be more accessible to up-and-coming directors, DOPs and creatives. Allowing them to nurture the relationship between creative and colourist. The Technicolor ship may have sunk, but the talent didn’t and with a fresh, authentic approach to colour grading, Fawn is quickly becoming the go-to colour house for those seeking a human-first grading experience.

Today, Dan and Felipe share insight on their journey into their new venture.

What do you do, and where are you based?

Dan> We colour in pictures! There’s a far more arty answer to be had, but that’s what my daughter says we do, and I appreciate how on the nose it is. We’re based in London but are available for remote grades worldwide.

What recent campaigns might we know you from, and what was your input on these campaigns?

Felipe> The most recent campaign I graded was a global one for a Finnish snowmobile brand called Lynx. It’s the second year I’ve worked with them, and their campaigns are always super fun to grade. I also worked on a big campaign for Bushmills, the Irish whiskey brand, and the last summer campaign for Very. Recently, I’ve also graded campaigns for the likes of adidas, Louis Vuitton and Mclaren.

How did you first get into the industry, and how did you realise what you wanted to do?

Felipe> My background is in motion graphics and VFX. I first started learning colour grading as a way to match plates in my comps and make them feel more integrated. That’s when I realised there was someone whose job was just to work on the colouring of the films after VFX was done, and I instantly knew I wanted to be that person. From that point on, I focused all my energy on it and put the work in to make the shift.

Dan> I actually come from a production background having been a producer for many years at Gusto.film down in Brighton where I live. Like Felipe, I always had a passion for colour, and when I discovered I could specifically produce colour -- which didn’t involve 4am call times outdoors in the rain -- it was a no brainer.

Tell us about your journey so far.

Dan> Felipe’s journey is way more exotic and exciting than mine, so I’ll let him take this one...

Felipe> I graduated in Digital Design in Brazil and started out as an assistant art director at an agency in São Paulo. Then I moved into motion graphics and VFX, where I discovered my love for colour grading. Over a decade ago, I moved to London looking to refine my craft and had the chance to work at some renowned post houses like Rushes and Absolute, where I was lucky enough to be mentored by some of the best in the business. Most recently, I led the colour department at Nomad London for five and a half years, and was a senior colourist at The Mill.

What projects / campaigns that you’ve been involved in have been the most personally satisfying to work on, and why?

Dan> I think as an EP, there’s a sense of pride whenever a job gets over the line. That might be somewhat of a 'politicians answer', but seeing a job through from an initial conversation and navigating the twists and turns before hitting send on that final delivery email is always satisfying. If I had to pick one, however, it’d probably be 'Battle of the Baddest', directed by Tom Day. I produced the grade that went on to give me my first Netflix credit, which was a bookmark moment in my career.

Felipe> It’s so hard to pick just a couple, but I’m a big fan of a Louis Vuitton campaign I graded a few years ago, and a short film called 'This Time Away' for Passion Pictures and director, Magali Barbe.

More recently, I really enjoyed grading some 35mm film for a McLaren spot, a campaign for the swimwear brand Hunza G, and a music video for Katie Melua's 'Love & Money' that went on to win Best Colour Grade at the UKMVAs. Check them out below!

What’s been your proudest achievement?

Dan> Is it wrong of me to say launching Fawn? That’s honestly not just another plug! It’s been a wild ride these past few weeks, but coming together with Felipe and getting this off the ground has already had so many mantlepiece moments I’ll forever cherish.

​Felipe> I think that UKMVA still holds the crown – it was genuinely a big moment for me. But launching Fawn with Dan has been this whirlwind of proud little moments. The fact we pulled it off and people are responding to it already feels pretty amazing!​

What do people (clients, agencies etc) come to you for specifically?

Felipe> I’d say our open-minded approach to colour. We always treat each project individually and adapt to what the story or brand needs. This might involve exploring options that don’t at first feel like the conventional way forward, but that collaboration is always a really enjoyable experience.

Dan> Just to add onto that point, one of the joys of working with Felipe is his ego-less persona. Technically, there are rights and wrongs which we can guide clients on, and naturally we have our signature tips and tricks we bring to the table that help to keep sessions moving. But creatively, Felipe is an open book, and that allows a grade session to find its own unique rhythm.

What are your strongest opinions relating to your specific field?

Felipe> One of the most debated topics in our field is 'Resolve or Baselight - what's better?'. I’m always up for a passionate chat about it. Even though I know there’s no definitive answer, it’s always a question that sparks a fire in the bellies of each die hard user group. Personally, I believe they both have their pros and cons, depending on the project. But between you and I, Resolve for the win...

What sort of projects really get you excited at the moment?

Dan> From a look perspective, the resurgence of film gets us very excited! We went through a phase of 'Can you make this look like film?', whereas now, we’re grading more and more actual film, and the intricacies and imperfections that come with it are always a very welcome challenge. More work shot on film please!

Who are your creative heroes, and why?

Felipe> I’d say photography and film are probably my biggest sources of inspiration. Cinematographers like Roger Deakins and Emmanuel Lubezki always blow me away. Everything they do is so beautiful and full of feeling.

I also really admire Brazilian DOPs like Adriano Goldman and César Charlone -- their visuals are always striking. Sebastião Salgado, an important Brazilian photographer, is another big influence. His photography work has always had a huge impact on me.

I’m always keeping an eye on other colourists’ work too. There’s so much talent out there, and seeing what others are doing really pushes me to keep evolving and trying new things.

Outside of the day job, what fuels your creativity?

Felipe> Going for walks is a big one for me. I love the simplicity of it -- just putting on your headphones and heading out, even if it’s just a quick stroll around the neighbourhood to see life around you. It’s like hitting a mental reset button. In Japan, there are a few routes like the Philosopher’s Path in Kyoto, where great thinkers would walk and reflect, and I really love that idea. There’s something about being in motion, away from a screen, that really helps clear my head and spark new ideas.

Dan> Music is a huge part of my life, both playing and listening to it. It’s much like colour in that you have so much freedom to explore new things and take something in multiple different directions. I have been known to miss a train before because I’ve left my earphones at home, and the thought of commuting without them is just not an option.

And not to get too soppy on you, but my daughter is honestly the fuel to my creative fire. She’s taught me to question things we otherwise wouldn’t. We did strike an agreement that you don’t have to ask "Why?” to everything. But just because something has been done a certain way in the past, doesn’t mean it has to be done like that in the future. Unlock your inner child and ask "why?" more!


Check out Felipe's reel below!