Bradley Greer from Kyotocolor recently came on The nsavides Podcast to talk about his collaborations with various directors of photography. We discuss his work on films like 12 Years a Slave, Lee Daniels’ The Butler, The Iceman, Looper, and Percy Jackson: Sea of Monsters and some of the ways an experienced colorist can make a scene more dramatic or enhance its emotional impact. We also talk about some industry trends relating to color grading, some of the differences in film and digital workflows, and how a cinematographer’s country of origin can influence his stylistic choices.
promotional banner, Fox Searchlight
Listen to the Podcast
Related Things
- Bradley’s website: http://kyotocolor.com
- Notable color-grading work that we mentioned: Peaky Blinders, The Disappearance of Eleanor Rigby, Drive, Spring Breakers
- Bradley’s films that we discussed: Season of the Witch, Percy Jackson: Sea of Monsters, The Host, Looper, The Iceman, The Butler, 12 Years a Slave.
As it happens, Looper is one of those films that seems to follow me around. It felt like it was something I was supposed to see when it first came out, and it felt somehow familiar even then. Subsequent viewings have only reinforced that strange feeling, and that feeling returned when I rewatched the film in preparation for this interview. Given how the story pans out in Looper, I am a little uncomfortable about the implications.
On a similar note, I also watched The Lucky One in preparation for the interview. Bradley also worked on that film, but we didn’t have time to discuss it. I mention it here because the film has similar preoccupations with Trent’s War, the short film I directed about a soldier battling PTSD, but I had never seen The Lucky One prior to seeing it for this. Once again that sense of eerie familiarity with something unknown.
Also, look for the special appearance of orange and teal in that one. It comes at such a significant moment. Why does the orange and teal show up when it does, and what does it mean?! To earn the esteem of The nsavides Podcast, bring this up at your next philosophy class and report back on the findings.
If You Liked the Show
- Sign up for The nsavides Newsletter.
- Subscribe or comment:
, 
- Say hello on Twitter.
Hey Nick!
As always, I enjoyed your podcast and love learning about some of the inner creative workings and people who create films, that the general public may know little or nothing about.
I appreciate your support Jill. Best of wishes for 2015!
Also, I should add, prior to this podcast, I had begun noticing the tone and palette of films or TV shows, but had no idea about the extent to which this is done “in camera” or at post. I now have an additional layer and understanding with which to view things.
Not long ago, I watched a film called “This is How I Live Now”, and was immediately struck, in the opening credits, with the film’s “look and feel”. It caught my attention and I thought this is going to be very different than what I was expecting.
I’ve just begun watching “An Honorable Woman” and the look and feel of the first episode was pale whites, yellows and greens…each shot carefully crafted. Very moody. However the palette, is putting me in mind of a wedding reception. I don’t know if that is a good thing, given the subject matter of this mini-series.