Clark Griffiths is a colorist at St. Louis-based Bruton Stroube, a 40-year-old live-action production studio whose post division is called Outpost.
After stints at Framestore and Company 3 in Chicago, Griffiths moved to Missouri in 2022 to work at Outpost. Over his career, he has graded spots for Allstate, Cadillac, Corona, Nintendo and McDonald’s, just to name a few. He’s also colored music videos for artists including Blackbear, Machine Gun Kelly and Chance the Rapper.
Griffiths is well-versed in both FilmLight Baselight and Blackmagic DaVinci Resolve, is Dolby Vision-certified and is fluent in Adobe’s Creative Cloud suite.
Before transitioning into the world of color and visual effects, Griffiths was a freelance advertising photographer shooting primarily lifestyle and location-based work.
We spoke to him to find out more…
As a colorist, what would surprise people the most about what falls under that title?
I think people outside of the production and post world are just surprised that it is an actual career.
Are you sometimes asked to do more than just color on projects?
Not really. Outpost does a good job of allowing me to focus just on color grading. Our editors handle all of the final conforms and delivery of their spots, so I really only need to worry about conforming on my end, and getting the graded shots to the editors once I’m finished.
What are some recent projects you’ve worked on?
I graded a really cool spot for Caterpillar, a short piece that revolves around a pair of lifelong friends. Director Jon Michael Ryan and I settled on a Kodachrome-inspired look that I think turned out really nice.
I also recently graded a comedic short film for actor John P. Reynolds and director Guy Kozak. It’s hilarious and received a Vimeo Staff Pick honor. I’ve also been working on a feature-length sci-fi film called Saturn from director Eric Esu.
Can you describe a challenging scene from one of those projects?
Saturn features a climactic scene that was shot over three days on a beach in the Pacific Northwest. The weather on each of those three days was different. It has been rewarding and challenging getting all of the shots to come together without looking like they were shot on different days.
How do you prefer to work with the DP/director?
I love working with DPs/directors who are collaborative and know what they would like to accomplish with the grade. I also love the ones who give you free reign to cook up different looks.
How do you prefer the DP or director to describe the look they want? Physical examples? Film to emulate?
I love it when DPs and directors explain their vision and what they were trying to accomplish with the footage they captured. That shows me they care and aren’t just after a look that matches a certain movie or TV show.
Any suggestions for getting the most out of a project from a color perspective?
Start your grade out with small adjustments and try to avoid a heavy look right away. It’s a lot easier to build on a grade than it is to peel layers back on a grade that was overcooked.
Do you provide on-set LUTs?
Since the bulk of my work so far in my career has been short form, I haven’t had many opportunities to do this, but I am looking forward to it as I progress.
What system do you work on?
Blackmagic DaVinci Resolve
What’s your favorite part of color grading?
The collaboration with directors, DPs, my coworkers at Outpost and Bruton Stroube, and all the agency creatives.
Do you have a least favorite? If so, what?
I don’t think I have one. Well, maybe eye fatigue, but some good eye drops can clear that up!
How did you choose color grading as a profession?
I got into this profession later than most. I was an advertising photographer for eight years before switching over to post in my early 30s. I knew I wanted to move on from photography and into motion. I thought that maybe I’d try directing, but once I got a taste of color grading and the magic of the color suite, I was hooked.
If you didn’t have this job, what would you be doing instead?
I think I’d own my own barbecue restaurant.
What is the project that you are most proud of?
I graded a Super Bowl spot back in 2020 for State Farm that starred Patrick Mahomes, Aaron Rodgers, Paul Rudd and Drake. It was shot by the great Bob Richardson (ASC). That was my first Super Bowl spot, and it was a really fun experience.
Where do you find inspiration? Art? Photography? Instagram?
Instagram is obviously a great source of inspiration, but I try to limit that. Being outside and active inspires me, as well as traveling.
Is there a film or show that sticks out to you as an example of great color?
Michael Mann’s Manhunter always comes to mind when I think about a movie that just looks downright great. It’s an ‘80s classic based on the novel “Red Dragon,” and I absolutely love it.
Arrival is another film I love the look of. For something more recent, the Amazon miniseries The English, which is a western, had a really unique look to it.
Any tips you would like to offer up?
Stay humble, and be someone other people want to be around.
Can you name some technology you can’t live without?
My Elgato Stream Deck would have to be up there.
What do you do to de-stress from it all?
Staying active! Running and mountain biking are two of my favorite things to do when I’m not in the grading suite.
