With a reputation for nuanced color tones and tweaks that may evoke a suffocating Buckingham Palace in “The Crown” or a ghostly time shift in “Last Night in Soho,” Asa Shoul, senior colorist at War…
A veteran of post production on some 50 feature films, Shoul began at Framestore in 1994 as a telecine colorist before going on to score a BAFTA TV craft award for Netflix hit series “The Crown,” and has worked on Emmy-winning history miniseries “Shackleton” and “Generation Kill” for HBO.
“The grading software we use is so powerful that the look of a film can be greatly changed after shooting,” he says. “Ideally the lighting, set design, costume and makeup will go some way in defining the cinematographers’ vision for the film, but many would like to retain the ability to change this during the grade.”
Even a master colorist may not be able to correct under-exposing after daylight has diminished and footage won’t match shots filmed earlier, Shoul says. “If possible I like to have read the script before testing begins and discuss the shooting schedule with the DP, so we can find solutions for any scenes that might prove difficult.” Common challenges shooting day for night, filming in locations where the crew can’t add atmosphere or having certain colors the filmmakers want to change for story purposes or complex VFX sequences.
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