Dimitri Zola on the Questions That Define a Great Colour Grade
Dimitri Zola is one of the most sought-after colourists in the US. Heralded for his keen artistic eye and distinctly filmic sensibility, his work is regularly recognised with industry nominations, and he continues to attract some of the most visually-ambitious work.
His distinguished collaborators include directors Spike Jonze, Vellas, Jake Szymanski, and Dave Meyers, as well as cinematographers Linus Sandgren, Edu Grau, Jo Williams, and Shabier Kirchner.
Dimitri’s recent highlights include season two of the Apple TV hit ‘Loot’, Charlie Di Placido’s luminous Pella spot, ‘Make Life Brighter’, and ESPN ‘Sports Forever’, directed by Omri Cohen.
Dimitri sat down with LBB to discuss what inspired his early captivation with colour grading, his recent collaboration with Spike Jonze, and the authenticity of film.
LBB> What was your first experience with the world of colour grading – and when did you decide that being a colourist was a role that you wanted to pursue?
Dimitri> My first experience with colour grading began when I became a runner at Company 3 straight out of high school. It took a year or two before I fully understood what a colourist actually did, but from my very first day, my curiosity was sparked.
I was captivated by the images coming off the film rolls in the machine room, and by the VIP clients who happened to be visiting that day. Funnily enough, the first clients I met were Prince and Salma Hayek – encounters that undoubtedly helped shape the direction of my future career.
LBB> What was the project that you felt really changed your career?
Dimitri> I believe every experience is an opportunity to hone your craft and become a better artist. Almost every day, the footage, cameras, aesthetics, and filmmakers change, and when you’re just starting out, it’s easy to get lost in the challenge of focusing in and shaping the most beautiful image possible.
Early in my career, I was fortunate to be nominated for a colour-grading award for an UberEats project I’m still very proud of, an achievement that opened doors I’m forever grateful for.
More recently, I’ve had the chance to collaborate with director Spike Jonze on several projects, which was a career highlight, and has introduced me to even more incredible filmmakers.
LBB> How/where did you hone your craft and did you have any particular mentors?
Dimitri> Since the start of my career I’ve been around some of the best colourists at the best studios in the world: Company 3, MPC, The Mill, and now Trafik. Each artist grades in their own way to make some of the most influential visuals in the industry.
Seeing that level and expectation of work has set the standard for me to elevate my own talents from an early stage. Being surrounded by these beautiful images has helped develop my eye and own aesthetic. Even now, some of the most motivating days are the ones where I get to sit down and review work or talk shop with the colourists at Trafik.
LBB> Tell us more about your creative process
Dimitri> The creative process in colour grading is highly collaborative. Directors, cinematographers, and other creatives often spend weeks or months developing the vision for their visuals, before the grade even begins.
It’s the colourist’s job to engage in these discussions, study references, and bring the production’s work to life. Pushing the image, exploring ways to add subtle flair, and enhancing it beyond the expected is what separates a good colourist from a great one.
LBB> From experience, we’ve found that colourists often love art and photography - when you’re out of the studio, what inspires you?
Dimitri> Art in all its forms – and even just a bit of fresh air – always inspires me. I constantly feel the need to surround myself with imagery that sparks a sense of uplift or emotion. It’s not uncommon to find me at Arcana: Books on the Arts in Culver City, studying photography or paintings, wandering through a museum, or watching a good film or series that leaves an impression. Even listening to music can spark excitement for the visuals it might inspire.
Lately, I’ve also been coaching Little League Baseball (go Ladera!), and I can’t stress enough how motivating a bit of fresh air can be. There’s something about a crisp fall evening and a beautiful sunset on the field that fuels the urge to create.
LBB> Colour grading is largely a digital affair, but there’s also been a resurgence of film over the past few years in commercials and music videos. What are your thoughts about working on film versus digital formats like 4K? And what are your favourite techniques for capturing a vintage or tactile feel?
Dimitri> The authenticity of film is unrivalled. It feels filmic because it is filmic – the highlight rolloff, the subtle textures, all the qualities that digital formats are constantly trying to emulate. Since I began my career working with 35mm and 16mm film dailies, I’ve always had a deep love for the medium. I feel rooted in it. But if there’s one thing we know, it’s that technology never stops advancing. Some of the images coming out of today’s digital formats and new workflows are undeniably stunning.
Alongside grading and adding film grain, Trafik has been fortunate to partner with several film labs on film-out processes and studios that create digital live grain, merging the best of both worlds. It’s added an entirely new dimension to the creative process – one that continues to excite and inspire me.
LBB> When working in commercials, what role can colour and a grade play in enhancing a brand’s assets and what sort of conversations do you have with creatives and clients about that (e.g. is there often a strategic/consistent ‘look’ for a brand? Can these be too heavy handed?)
Dimitri> Colour grading plays a crucial role in shaping the visual connection between the viewer and the film. It creates emotion, supports the narrative, and guides how a story is felt. A grade can shift an image from something filmic and luxurious to something raw or gritty. It can make a brand ad feel optimistic, warm, and inviting, or ominous and mysterious. Visuals are instrumental in filmmaking, and colour grading is a key component in bringing those visuals to life and carrying their intention through to the audience.
LBB> How do you ensure that each colourist-director partnership is a success?
Dimitri> It’s all part of building relationships and understanding both the film and the client. Filmmaking starts with a vision, and collaboration is essential to bringing that vision to life. Notes and direction should never be taken as an attack on your talent, but as an effort to elevate the visuals toward what they’re meant to be.
LBB> What advice would you give to budding colourists?
Dimitri> Developing your eye and aesthetic is invaluable. Repetition is key to understanding your tools. Be ready when opportunities come, and be intentional with every move you make. That level of understanding is what allows an image to become what it needs to be. Chase beautiful images; don’t chase fire emojis on social platforms.
LBB> In your opinion, what's the difference between a good grade and a great grade?
Dimitri> The difference between a good grade and a great grade comes down to intention. A grade can do wonders for the visuals, and knowing when to show restraint, or when to push the limits, can profoundly shape the emotion of a piece. But intention matters. Just because you can push footage or create a certain look doesn’t always mean you should. Does it distract from the narrative? Does it pull the viewer away from the emotion? These are the questions that define a truly great grade.
LBB> How is the craft and trade of colour grading changing?
Dimitri> Colour grading is more accessible than ever. The days of needing two to three million dollars to build a colour suite are behind us. At the same time, the amount of content being produced has never been greater.
Today, grading for broadcast or theatrical release versus grading for phones and social media has become an important conversation, reflecting how the medium shapes the approach and intent of a grade.
