Edgar Reyna is a colorist at India’s After Studios, a company that offers post services, including digital intermediates, visual effects and online editorial. A 10-year industry veteran, Reyna, who is Mexican-born, has been enjoying his time in Mumbai.

Let’s find out more…

As a colorist, what would surprise people the most about what falls under that title?
When I’m questioned by people from different industries, they don’t understand what I do for a living. Sometimes people ask me if I can dye their hair, and some other people think I’m an actor.

People who attend a DI session for the first time are often surprised by the enormous changes we, as colorists, can make to their projects.

Are you sometimes asked to do more than just color on projects?
Recently, I have spent more time doing composites than grading, so having an extended tool set increases the quality of the output.

When I’m grading long-form work, DPs and directors usually ask if I can do something to the sky. I don’t like to add only blue, so I replace the sky. Besides sky replacement, sometimes I do simple cleanups — like for commercials, I usually do skin retouch.

What are some recent projects you’ve worked on?
Recently I finished a show called 36 Days, a film called Afwaah and another one called Akelli. I’m currently working on two other shows.

Can you describe a challenging scene from one of them?
Afwaah was shot at night. When working with low light, you need to avoid breaking the image. They also did multiple setups while shooting.

36 Days is an HDR show, and the cinematographer got dramatic contrast in a low-light environment. Working with a high-contrast ratio without burning the eyes of the audience was quite challenging, but we found a way to create a rich contrast ratio without going too high or too low in exposure.

Akelli features the most complex look I’ve done this year. We created a fusion between the tonal curve from 2383 and 500T film stocks. I really appreciated the opportunity to work and experiment on this project.

The most complicated factor was interchanging languages, nits and footlamberts, and I had to adjust to it daily.

How do you prefer to work with the DP/director?
The first thing I like to do is talk about the project, the story and the characters. Basically, I feel the need to be involved as much as possible. After having an overall look at what the film, is I start to discuss the look, the intentions for scenes and the message they want to send.

When I spend time communicating and getting along with my collaborators before the grading process starts, I get better results.

How do like the DP or director to describe the look they want? Look books, etc.?
It depends a lot on the DPs, directors and projects. I usually have a conversation with the cinematographer, and we dedicate some time to developing the look for the film or a particular scene.

Directors usually come with a reference from a film or a photograph. Sometimes they show me some stills from my

Instagram and ask me to get something closer to a previous project.

I have no problem with any type of reference; the only thing I’m expecting from a DP is to have the security to lock the look without hesitation.

Any suggestions for getting the most out of a project from a color perspective?
Reading the image and learning to read the context of it are the most important things for me because without the proper context, we can lose what we are trying to communicate. Sometimes a frame looks stunning by itself, but the same look might not work for the whole scene.

Having a proper understanding of what the person in charge of the grade wants is very important because there is always a way to make the producers, DP and director happy.

How does your process change when working on a film, versus episodics or commercials?
Usually, for commercials I do a lot of secondaries. Shaping light and relighting is my bread and butter.

For episodics, I usually create assets for scenes and episodes (a preset on a power grade or a preset on layers, depending on the system), and I’m currently bringing those for every episode. I like to set the mood for the night, day, interior and exterior.

For films, I like to create an overall look with primaries, then I usually push the image, taking the look as a base for particular scenes with secondaries.

What system do you work on?
I use Blackmagic Resolve and FilmLight Baselight.

What’s your favorite part of color grading?
When I see the grade after months of not seeing it. Sometimes I’m so close to the project that having a break from it and watching it from another perspective is like breathing fresh air. That is the moment when I can judge what I did, grow and learn.

Do you have a least favorite?
When I have to watch a project that I just finished as part of my own QC. I always see things I want to modify or do differently, but it’s not always possible because of deadlines.

Also, supervising sessions might be hell on earth if you are not able to break the ice with the person who is sitting with you.

How early on did you know this would be your path?
I was around 16 when I saw a show about making The Lord of the Rings. While I was watching it, they talked about the DI process and how they used the technology to enhance the world they were creating. At that time, I thought that was video editing, and I get so amused that I decided to do that after I went to college — small gigs as an offline editor, modifying colors and doing some basic VFX. One day a producer saw my work and asked me if I wanted to specialize in VFX or color grading. At that point, I wasn’t sure what a colorist did, so I went back home and Googled it. I was shocked to find the DI process for The Lord of the Rings on YouTube since that was the moment my life changed. And now, 15 years later, I can say that I accomplished my dream.

If you didn’t have this job, what would you be doing instead?
Definitely interior design. I’m so crazy about looking through mood boards and renovation, and sometimes I get some inspiration for my grades from mood boards I find on Pinterest. It is very refreshing to see color palettes applied in something different from what I do.

What is the project that you are most proud of?
The first feature film I did, called Dovecove, was a life-changer. Working with limited equipment on a low-budget film helped me to develop hard and soft skills that helped me become the colorist I am now. Dovecove opened the door to conversations, and it helped me to get some projects early on in my career.

This is one of those examples when (almost) giving your work for free might take you to better places.

Where do you find inspiration?
Until this year, I was using Shotdeck and Pinterest as sources of inspiration. Each platform gave me different types of flavors (film stills, photographs, paintings, illustrations, etc.).

I studied contemporary photographers to understand the way they see light. Now I’m currently following some art galleries on Instagram, which is a faster and easier way to learn, study and get some inspiration.

Is there a film or show that sticks out to you as an example of great color?
There are currently three projects that are stuck in my mind:

I just saw Tumbadd, and I think that’s an amazing example of color serving the storytelling. Portrait of a Lady on Fire is a film with an amazing natural grade. I never felt the image was pushed too much… it was always on point. Drive My Car is also a film with a very good grade; the hues are just on point.

These three projects are the best things I have seen this year so far (even though they might not have been released this year).

Any tips or tricks you would like to offer up?
The best tip or advice I can give to younger or aspiring colorists is to connect with your clients or collaborators. It is just as important to create a nice collaborative space than the grade itself. After some time, the grade will be forgotten by both parties, but the moments you spent will stick forever. Be the coworker you want to work with.

Can you name some technology you can’t live without?
My iPad is an amazing tool for recreation and work. I can watch some exports on it; use it to review grades; access emails, references, HDR, SDR, etc. I think an iPad is a must for every colorist.

What do you do to de-stress from it all?
Walking has brought me a lot of joy. I usually walk to clear my mind and restart my mood.

When it is possible, I call friends or family on the phone while working so I can make the session less stressful.

Podcasts and books have helped a lot to de-stress, but definitely visiting coffee shops is the most “Edgar thing” you’ll ever find.