Matt Turner on Why Colour Grading Is as Much About People as Pixels

​After years working at some of the industry's leading post-production houses, colourist Matt Turner recently made the move into freelancing.

Known for his thoughtful approach to colour grading and creative collaboration, Matt believes the role is about much more than making images look beautiful.

Speaking with LBB, he shares insights into the subjective art of grading, the importance of listening, and why bringing people together is often just as important as perfecting the picture.

LBB > What drew you to your craft?

Matt > I was drawn to it by its subjectivity. I hadn't really come across a job that was so completely about a subjective opinion. After I left school, having travelled a little and tried some different kinds of work, it seemed that many people I knew well were going into jobs that lacked a sense of individuality. I knew I wanted to be in the creative arts, and having started running at a post house by chance, I discovered grading; suddenly the idea that I could have a job based on my own creative opinion was quite surprising and exciting.

LBB > What sorts of projects get you most excited to work on and why?

Matt > I get excited by any project where the creatives and directors are excited about it themselves -- after all, energy is infectious. There's nothing more dispiriting than people going through the motions, and I believe that comes out in the work. So when people have genuine enthusiasm and when they talk you through the conception of a piece and you feel their passion in producing this work, particularly when it feels there has been a good collaboration of ideas, it feeds your own creativity, and your excitement as well.

LBB > What's something about your craft that people outside your role tend to misunderstand?

Matt > I think a lot of people assume it's just about the technicality of colour grading, and, as with most things, there's a lot more to the role. It’s very much about collaboration and often diplomacy; you can be dealing with five or six people who could all have entirely different opinions, and a big part of the job is to unite people and help them come to a consensus.

There may be a DP whose main concern is getting something looking as rich and beautiful as they can for their reel, in contrast to a client who wants a brand look which is seemingly in opposition (it seems improbable for the two sides to be so different at this stage in the process, but it is not at all unusual). Their artistic and professional opinions might well be at two very different ends of the spectrum, but there’s great satisfaction in finding solutions and bringing them together.

LBB > Tell us about your favourite project or campaign that you've worked on. What was the biggest or most interesting challenge for you and what did you personally bring to it?

Matt > It's almost impossible to pick a favourite because I have been doing it for so long, but I think the most gratifying work is being part of the process of finessing an already beautiful piece of work and finding those solutions when things have hit an impasse.

Colourists come onto a job at a very late stage in the game, when everything has been shot and edited and many of the people involved have often been working on it for months. It's so vital to respect that. I come to it for perhaps a few hours or a couple of days, and it's right at the end of the process, so I am generally able to approach it with more objectivity. I don't have any of the baggage and the history and politics of what's happened through the shoot process, so I aim to bring some clarity to approaching any difficulties which might have arisen along the way. It’s very rewarding then to offer a fresh perspective when all have felt a little bogged down.

LBB > What recent work of yours might we have seen?

Matt > I've just graded a music video for kwn:

I've also enjoyed this Fedex ad:

Plus I've worked on a couple of cracking short films that are coming out quite soon. One short film is called ‘Meat’ starring Billie Piper’s sister, Ellie, and there are many interesting and imaginative projects on the horizon.

LBB > How would you describe your creative process?

Matt > A huge amount of my creative process is being a good listener. I think listening is a very underrated skill in general. To really take the time to hear what people are saying without immediately reflecting what they’ve been saying back to your own experience is a skill few possess, and yet everyone wants to feel that they're listened to. It makes sense that allowing real space for people to articulate their vision is invaluable.

LBB > How is your craft changing and how are you navigating those changes?

Matt > More and more people are able to get into grading now that the tools are so accessible, but colour grading has always been about much more than simply knowing how to operate the software, the technical side is only one part of the job.

My own career began in a film based environment, where I learned every stage of the process from the ground up. Working through the transition from film to digital, and through many changes in technology, has given me a deep understanding not just of the tools themselves, but of the craft behind them.

Becoming freelance has given me the freedom to draw on the relationships I've built over many years and create an environment that reflects how I like to work with clients. It's exciting, occasionally daunting, but ultimately incredibly rewarding.

The industry is changing rapidly, and it's becoming increasingly clear that traditional models built around large numbers of full-time staff are under pressure. At the same time, there are now very few genuinely independent post houses. Many facilities are owned, part-owned or closely aligned with agencies, networks or larger groups (either publicly or secretly). Being truly independent allows me to step away from those alliances and the politics that can sometimes come with them, and focus entirely on the work and the people I'm collaborating with.

Having my own suite feels incredibly liberating – a space where I can explore ideas for as long as they need, work without compromise, and welcome clients into an environment that is distinctly my own. It feels like a natural response to where the industry is heading, and I'm enjoying my work more than ever because of it.

LBB > What is your secret talent?

Matt > My secret talent is cooking. It’s not really a secret that I enjoy cooking for myself nearly as much as for 100 people or more. Of course, cooking for large groups is not just creative, but requires a huge amount of planning and prep, all of which I enjoy. I’m extremely lucky to live in an environment with excellent local produce, and there’s always something new to conjure, from sea or land.

LBB > What is a non-work-related topic that you could give a 30-minute presentation on with zero preparation, and why does it appeal so much to you?

Matt > It would have to be food related. Maybe how to cook fish, I think people are kind of a bit scared of cooking fish -- and overcooking it -- but I started taking it quite seriously as a teenager. Like most things, just needs a little attention to understand the principles. And greed helps. I could definitely do a little masterclass on that.

LBB > Who or what are your cultural and creative influences?

Matt > All colourists are going to say cinema and photography, I think those two are just a given. To be obsessed with colour you have to be obsessed with cinema, and you have to be obsessed with photography… the usual suspects! Otherwise, writing and art. I’m really fascinated by Serbian conceptual and performance artist, Marina Abramovic.

LBB > What is the key to finding your place with a new team or company?

Matt > As a freelancer going into a company, people are going to be keen to work out who you are, so understanding the fact that you're going into an environment for a relatively short amount of time, it all goes back to listening.

LBB > What do the best companies do to integrate freelancers well, and what do they often get wrong?

Matt > Most companies go out of their way to make freelancers feel welcome. Historically, large post facilities with dedicated colour departments rarely relied on freelancers, but my focus is different. I’m increasingly working with post houses, production companies and creative agencies that don’t have their own in-house colour suites. In those environments it's about becoming an extension of their team, helping them deliver a level of creative control they didn't previously have in-house.

LBB > What sort of teams, cultures and setups do you most enjoy working with?

Matt > Just friendly, curious people. People who love their work and are inclusive in that.

LBB > How do you find community as a freelancer?

Matt > There is a rapidly expanding army of freelance colourists, and I know a few of them. I’ve been in touch over the last couple of months since I became a freelancer and they've all been very helpful in their advice. Being open and honest with each other is imperative, most people understand that and want to share rather than dominate. I can only say positive things so far.

The industry is changing rapidly, and it's becoming increasingly clear that traditional models built around large numbers of full-time staff are under pressure. At the same time, it's nice to feel slightly ahead of the curve in that way. It’s going to be the new normal, and it feels really exciting to be embracing that now and just going for it.

​Check out more of Matt's work here.​

If you'd like get in touch with Matt Turner, visit www.turnerscolour.com or email hello@turnerscolour.com