Ana Escorse is a senior colorist at Toronto’s Studio Feather, a post house whose services include color, visual effects, finishing and motion design.

Born and raised in Brazil, Escorse’s interest in color can be traced back to her early exposure to Brazilian Baroque art. She moved to Canada in 2012 and found her way to color grading, working at post companies such as Frame Discreet and Nice Shoes before joining Studio Feather in 2020.

Let’s find out more…

As a colorist, what would surprise people the most about what falls under that title?
That it’s actually a thing. There’s so much talk about other aspects of filmmaking, but colorists are usually crammed into the end credits — most people don’t know we exist.

Drake’s Sticky

Are you sometimes asked to do more than just color on projects?
It definitely happens, and depending on the project and time, I’m happy to help out in any way I can while respecting people’s roles and expertise. The most common requests are probably VFX/cleanups, but I’ve had clients involving me in the preproduction process as well.

What are some recent projects you’ve worked on?
I finished a couple of Latin American commercial jobs, which I love being able to collaborate on, even though I’m in Canada. Also, a very special short documentary Holding Moses, which was shortlisted for this year’s Academy Awards.

How do you prefer to work with the DP/director?
Collaboration is at the core. I think everyone has a different way to express themselves. Some people are good with describing what they want; some are more visual; some don’t know and just want to try things. My job is to interpret that expression in whichever way it comes, but when everyone involved is open to collaboration, the result is often quite beautiful.

Taco Bell

How do you prefer the DP or director to describe the look they want? Physical examples? Films to emulate, etc.?
I think the best looks are created on-set, so the look should be a conversation that starts before filming begins. But sometimes we only talk about color when it’s time to actually color, so having some references that were used in preproduction gives a good insight into the creative intentions.

Any suggestions for getting the most out of a project from a color perspective?
I think the relationship between everyone involved is integral in getting the most out of a project from a color perspective. We are all experts in our own way, so coming together with openness allows each person’s talent to be expressed, and then we can see what comes from that.

How does your process change when working on a film versus episodics versus commercials, etc.?
Creatively, it’s more about the project rather than where it’s going to be shown, but it’s also about the footage. Getting a feel for the material as opposed to forcing a look, honoring the footage and decisions that were made on-set.

Flash Brasil

What’s your favorite part of color grading?
Maybe looking back to a project after a couple of months and being able to fully appreciate it. My least favorite is probably eye strain after you have been looking at a monitor for many hours.

You took home a 2022 FilmLight Color Award for Best Music Video, Lovezinho. Why was it important to enter these awards and that project?
I am Brazilian so I feel I have a responsibility to use whatever platform I can to showcase my country, its talents and its colors. Lovezinho was the only project that I submitted, so seeing how far it got was really special to everyone involved.

Can you describe a challenging scene from this project?
I would if there was one. The process for this project was very respectful and fluid ­—­ a complete credit to the director, Lu Villaça, for trusting in everyone during the whole process.

How early on did you know this would be your path?
I had no idea it existed, so it wasn’t a planned path. When I was younger, I wanted to be a doctor because growing up, that’s what I saw as a career. I think the timing and the exposure I had living in Canada helped me explore and realize that being a colorist was a career that encompassed things I genuinely liked and was interested in, and things clicked. After that, I was very intentional in my choices to help me get to where I am today.

Gypsy Son

What is the project that you are most proud of?
I really liked Divina, directed by my friend and talented artist, Ode. Divina is a short that premiered on Dazed Digital highlighting Marcinha do Corintho, a Brazilian trevesti icon.

Where do you find inspiration? Art? Photography? Instagram?
A good cup of espresso, rested eyes and body, a shower, a good cry. Life things.

Is there a film or show that sticks out to you as an example of great color?
I really like the work Peter Doyle did on White Noise, as well as War Sailor graded by William Kjarval.

What system do you work on?
I work on FilmLight Baselight. I think its tools, color science and overall interface complement the way I like to work and explore the footage, allowing me to go where I want to go pretty fast.

Any tips or tricks you would like to offer up?
Sometimes the best thing is to start over. There’s no shame in recognizing something is not working.

If you didn’t have this job, what would you be doing instead?
Maybe I would open a retreat hotel. Create a space where people can go and contemplate whatever it is they need to contemplate.

Can you name some technology you can’t live without?
In broad technology terms probably planes. In everyday life, it would be silly not to say my phone. We rely on it so heavily for so many things nowadays.

What do you do to de-stress from it all?
Being around water, whether it’s a beach, a lake or my shower.