Holly Greig is colorist at London’s Stone Dogs, a boutique post house providing VFX and finishing services and color via a new grading division that launched in August.

Greig first joined the post world as receptionist at Prime Focus, working her way up through the machine room to telecine assistant. From there, she moved to Freefolk as a data wrangler, where she learned from the colorists around her, eventually earning the same position herself. In this role, she developed her commercial client base while crafting work for such brands as Nike, E4 and Virgin Atlantic.

Let’s find out more…

As a colorist, what would surprise people the most about what falls under that title?
The job itself is a beautiful mixture of creativity, technical knowledge and interpersonal skills. Being able to interpret what the client wants is one of the most challenging parts of the job…but also one of the most rewarding. When you feel that the client’s vision is coming to life, it is a real perk of the job. Probably what’s most surprising about the role is the detailed knowledge required of good places to go for lunch around your area.

Are you sometimes asked to do more than just color on projects? Has your job evolved at all beyond color?
Technically, yes. There are a few bits and tricks that I can clean using Fusion in Blackmagic’s Resolve 18. However, I work with a team of very talented Flame operators, so it would really only be as a last measure.

What are some recent projects you’ve worked on?
I really enjoyed working with the guys at Passion on their recent Transpennine job, which was a charming stop-motion spot. Also, a beautiful campaign for the UK launch of Sephora, some playful commercials for EIR broadband, and it’s always a pleasure to work with the BBC.

Can you describe a challenging scene from one of them?
The Transpennine job had the challenge of not being too heavy-handed with the grade. It was about using a more subtle and nuanced technique to direct the eye while maintaining the realism and not becoming too hyper-real.

How do you prefer the DP or director to describe the look they want? Physical examples, film to emulate, etc.?
I think having a conversation with the director/ DP on the phone or in person before you start is always a great help. Sometimes a visual reference can be misleading — they might love the reference but not specifically the color of the still; it might be more the tone, mood or density that they like.

That said, it is helpful to get stills or reference clips that might have had an impact on the way the piece was shot or have the feel that they were hoping for. But I think it should be followed up with a chat so you can gauge exactly what they like and why.

Any suggestions for getting the most out of a project from a color perspective?
Hopefully you will know what camera and settings have been used before you set a project up because this definitely helps you get the most out of the media. Also, if you have enough time to bring in the camera files, it gives you a bit more scope because you can play with the metadata rather than transcoded files.

Also, it always helps to be able to speak directly to the editor, DP and director about anything that might have come up in the edit or the shoot that they think might be an issue or that might cause problems. As with most roles, communication is one of the best tools you have.

How does your process change when working on a film versus episodics versus commercials?
With a commercial workflow, you usually have the benefit of time, so you get a chance to be very thorough and go into very specific detail. Film and episodics usually don’t allow for as much specificity. Quite quickly you have to settle on a look that works for the scene, is achievable and looks good across all cameras. Grading for film or episodics means you work with much broader strokes.

What’s your favorite part of color grading?
The job can be quite a subjective one. Because there is no clear right or wrong outcome, it can be a lot of fun trying out different looks and seeing the different ways you can go with it. Color can really help lead an emotional response, and I really enjoy when I think I’ve have nailed it, but then try adding something, and it gives it that extra little sparkle.

Do you have a least favorite? If so, what?
It can be frustrating when you are trying looks and it feels like nothing is fitting the brief or the media. Or if there is one shot in the edit that is really problematic, and you spend far too long obsessing over it trying to get the right look. But usually, if you take a quick coffee break and let your eyes have a moment, when you settle back in with fresh eyes you realize the best way to go about it.

Why did you choose this profession?
I first started my love for grading while working as a receptionist at a post house. I have always loved art and photography, but the concept of grading was completely new to me until I started working in the industry.

Once I started training in the TK (telecine) department, that was it. I chose it because I loved that you are presented what is essentially a blank canvas, and you can shape the mood through grading. It is a really interesting combination of art and technology, which I find both challenging and fascinating. Plus the panel was very cool.

If you didn’t have this job, what would you be doing instead?
Human rights lawyer or a yoga instructor.

What is the project that you are most proud of?
I really love the Ellie & Natasia show for BBC3. It was challenging because of the variety of vignettes that needed different looks, as it is a sketch show. The show is hilarious, and I was really proud to have been a part of it.

Where do you find inspiration? Art? Photography? Instagram?
Each project is different, but sometimes the footage might trigger a memory of a film or photo I have seen, or the art direction sets a tone. You never know how a film you watched might influence the direction of the grade or how an exhibition you visit might come to mind as you see the edit. Even just the world around you can be influential — the golds of the sunset or the steel-grays and blues as winter starts creeping in might inspire the mood for the next grade.

Is there a film or show that sticks out to you as an example of great color?
There are so many examples of great color out there, but recently I loved the grade on the film Everything Everywhere All at Once. It really kept the pace of the film. I felt it balanced the epic blockbuster with the delicate and intricate perfectly.

If you are talking best color of all time probably The Black Narcissus. It is a visual feast for the eyes; every frame is stunning. They recently released a series with the same name, which was also beautifully graded.

Any tips or tricks you would like to offer up?
A practical tip: If you (like myself) previously worked on FilmLight Baselight but are now on Resolve, a very simple tip is to enable the editable spines on the curve grade. It means you can use the curves like you would in Baselight, and it makes a much smoother curve.

Another one is that if you feel you are going around in circles, take a step away from the desk and make yourself a coffee. When you head back, you will probably have the eureka moment. Also, the job is fundamentally a creative one, so best to have a play!

Can you name some technology you can’t live without?
Workwise, it’s the grading panel. It just makes everything specific and so much easier. It allows you to be much more precise.

What do you do to de-stress from it all?
Yoga. And, shamefully, Married at First Sight.