By Randi Altman
Freefolk, which opened in New York City in October 2017, was founded in London in 2003 by Flame artist Jason Watts and VFX artist Justine White. Originally called Finish, they rebranded to Freefolk with the opening of their NYC operation. Freefolk is an independent post house that offers high-end visual effects, color grading and CG for commercials, film and TV.
We reached out to global head of color grading Paul Harrison to find out his path to color and the way he likes to work.
What are your favorite types of jobs to work on and why?
I like to work on a mix of projects and not be pigeonholed as a particular type of colorist. Commercials are my main work, but I also work on music videos and the odd feature or longform piece. Each form has its own creative challenges, and I enjoy all disciplines.
What is your tool of choice, and why?
I use the FilmLight Baselight color system because it’s extremely versatile and will cope with any file format one cares to mention. On so many levels it allows a colorist to get on with the job at hand and not be bogged down by the kit’s limitations. The toolset is extensive and it doesn’t put boundaries in the way of creativity, like other systems I’ve used.
Are you often asked to do more than just color?
These days, because of the power of the systems we use, the lines are blurring between color and VFX. On most jobs I do things that used to be the realm of the VFX room. Things like softening skin tones, putting in skies or restoring elements of the image that need to be treated differently from the rest of the image.
Traditionally, this was done in the VFX room, now we do it as part of the grade. When there’s more difficult or time-consuming fixes required, the VFX artists will do that work.
How did you become a colorist? What led you down this path?
I started as a runner at the Mill in London. I had always had a keen interest in photography/art and film so this was the natural place for me to go. I was captivated by the mystery of the telecine suite; they looked hideously complex to operate. It was a mix of mechanical machinery, computers, film and various mixers and oscilloscopes, and it spoke to my technical, “How does this work” side of my brain, and the creative, photography/art side too.
Making all the various bits of equipment that comprised a suite then work together and talk to each other was a feat in itself.
Do you have a background in photography or fine art?
I’ve been a keen photographer for years, both on land and underwater. I’ve not done it professionally; it’s just grown through the influence of my work and interests.
In addition to your photography, where do you find inspiration? Museums? Films? A long walk?
I find inspiration from lots of different places — from hiking up mountains to diving in the oceans observing and photographing the creatures that live there. Or going for a walk in all weathers, and at all times of the year.
Art and photography are passions of mine, and seeing the world through the eyes of a talented photographer or artist, absorbing those influences, makes me constantly reassess my own work and what I’m doing in the color room. Colorists sometimes talk about learning to “see.” I think we take notice of things that others pass by. We notice what the “light” is doing and how it changes our environment.
If you had three things to share with a client before a project begins, what would that be?
Before a project begins? That’s a tough question. All I could share would be my vision of the look of the film, any reference that I had to show to illustrate my ideas. Maybe talking about any new or interesting cameras or lenses I’ve seen lately.
How do you prefer getting direction? Photos? Examples from films/TV?
Photos are always good at getting the message across. They describe a scene in a way words can’t. I’m a visual person, so that’s the preferred way for me. Also, a conversation imparts a feeling for the film, obviously that is more open to interpretation.
Do you often work directly with the DP?
DPs seem to be a rarer sight these days. It’s great when one has a good relationship with a DP and there’s that mutual trust in each other.
Is there a part of your job that people might not realize you do? Something extra and special that is sort of below the line?
Yes. Fixing things that no one knows are broken, whether it’s sorting out dodgy exposures/camera faults or fixing technical problems with the material. Colorists and their assistants make the job run smoothly and quietly in the background, outside of the color room.
What project are you most proud of?
Certain jobs stand out to me for different reasons. I still love the look of 35mm, and those jobs will always be favorites. But I guess it’s the jobs that I’ve had the complete creative freedom on like the Stella, Levi’s and Guinness commercials, or some of the music videos like Miike Snow. To be honest I don’t really have a top project.
Can you name some projects that you’ve worked on recently?
Since moving over to NYC recently, I’ve worked on some projects that I knew of before, and some I had no idea existed. Like a Swiffer — I had no idea what that was before working in NYC. But I’ve also graded projects for Cadillac, Bud Light, New York Yankees, Lays, State Farm and Macy’s, to name a few.
