Holly Greig - Colourist
Job title - Colourist
Experience - 5+ years
“Once I had learned the sometimes subtle sometimes explosive effect the grade can have, I knew it was the career for me.”
Tell us about your job role and the kinds of projects you work on;
I am a colourist at Freefolk London, being a colourist is a beautiful mix up of technical, artistic and interpersonal skills. The kit can look a bit intimidating with all the bells, whistles and trackballs but once you get the hang of it, it’s just like any old computer! I usually work on Baselight. As a colourist, I like to view the media as a blank canvas, it can feel like you are painting as you work colours into the pictures to create the energy, or emotional connection to the project. On an interpersonal level , The Role changes daily depending on the project which helps keep me on my toes. One day I could be working very intimately with only the director and the next could be a room full of creatives, producers, agency, clients all collaborating together to finesse the perfect look for the piece, being able to communicate and interpret people's direction is a really key part of the job. I also regularly have to work closely with the editors and the online/ VFX teams to make sure our workflows are as smooth as possible.
What does an average day look like in your post-production working world?
There is no real average day as each project brings a different dynamic, relationship and set of challenges, but once we make it to the suite (we've already gone through many different tasks by this point including helping with quotes, prepping media and liaising with the editors) I like to try to set a mood in my suite to help get the creative juices flowing , the suite itself has no windows so a candle helps to create a more chilled feel and I find music can really help to inspire the feel of the film! Usually a discussion about the mood and tone will start the session; we'll look through and brainstorm ideas. Note Any tricky areas, from issues on set or any brand specific details we might need to hone in on in more detail. Starting with a basegrade layer to level the film we will then build up using multiple layers, comprising of primary ( film grade, video grade, curves, technical grade) and secondary grade tools (hue shift ,hue angle, shapes, Dkey etc), and potentially a few effects if we're feeling fancy, to finesse and perfect the look.
What’s been the highlight of your career so far?
Jetting off to Ibiza to judge best colour grade in a music video at the Ibiza Music Video Awards, has to be up there! Whilst there I was also honoured to have been on one of the panels , along with directing genius Tash Tung and producing power house Laura Northover, discussing the industry. The panel was hosted by directing Superstar and all around legend, Tim Pope who took us on a thrill ride through the many unbelievable achievements in his incredible career, whilst the beautiful balearic sun set in the background.
How did your career in post-production begin?
I started, like so many others, at an entry level role. I was a receptionist at Prime Focus and was very fortunate to have had the opportunity there to use every lunch/ after work/ before work moment to harass..i mean train, with the guys in the Machine Room and the colourists. I am forever grateful for all the colourists who gave up their time to sit down with me and patiently explain the kit and all the guys in the MCR who finally gave in and took me under their wings after a lot of hanging about watching over their shoulders. I also always have had an interest in art and film which I think helps with the creative side of the role. Once I had learned the sometimes subtle sometimes explosive effect the grade can have I knew it was the career for me, but it took a lot of time, dedication and education to progress and still every day there is something new to learn or a new technique to try, that is something which the Colourists I trained with taught me to always be inquisitive.
Which women in post do you admire?
I am surrounded by impressive and admirable women everyday, the women at freefolk who run the show, Cheryl and Laura my producers, Fi our MD , Robyn our PR queen, Stacy who sorts out everything! Also because Colour grading has typically been a male dominated industry, I am honoured and very fortunate to have a very close relationship with the other female colourists based in London, Simona, Jax, Yoomin, Jess, Katie, Ruth to name a few. If anyone is ever in need of any advice or help or has forgotten a hot key these ladies are only too happy to help and give suggestions. Not only are they super talented and create stunning visuals every time they put their hand to a project, but they have led the way in putting to bed the trope that grading is a boys club, and created a welcoming space for any women coming up to know they have a network of supportive and encouraging women high fiving them at every point. I am in particular awe and grateful to Simona Cristea who encouraged and believed in me when I was training, her work inspired me and she reminded me not to give up. At the time she was one of the only women in grading and to this day she continues to create captivating and nuanced looks that set her work apart. She is also a genuine and charismatic person and I feel lucky to know her.