Colorist Podcast

The top colorists in film, television, and music videos are interviewed in this podcast, hosted by Josh Petok.
RSS Feed Subscribe in Apple Podcasts


All Episodes
Now displaying: Page 2

Sponsored by:


Feb 14, 2017

This episode is sponsored by Colorist Society International and

On this episode of the Colorist Podcast, I talk with Peter Doyle, Senior Colorist at Technicolor London.

Peter has worked on some of the most popular films of all time like the Lord of the Rings Trilogy, Harry Potter films, and The Matrix. He has collaborated with major directors, Tim Burton, The Coen Brothers, and The Wachowski Siblings. 

Peter helped pioneer the digital intermediate process we use today, working with a groundbreaking software package then known as “Colossus.” This would later evolve into Autodesk Lustre, and is used on many big budget films today.

The look of his projects can be vastly different. From the hyper saturated look of Charlie and The Chocolate Factory, to the bleak and faded style of Inside Llewyn Davis, Peter is constantly pushing the boundaries of color grading.

On the podcast, we talk about:

  • Making the transition from visual effects to color
  • How directors and DPs have shaped the way that he grades
  • Grading a film “wrong” before it can achieve the right look
  • Working on films from completely opposite genres
  • Pushing the creative and technical limits of color
  • Making color work look invisible
  • Different challenges of working in broadcast television
  • Using Baselight for color grading
  • Advantages of knowing the technical background of color science
  • Using a keyboard instead of a grading panel
  • How ACES works in his grading pipeline
  • HDR and how it can be used effectively to enhance the story

Download full transcript 

Peter Doyle at Technicolor London 

Peter Doyle IMDB


This episode is sponsored by:

Colorist Society International

For more information on how you can become a member, visit,

and by:

Use the coupon code josh10 for 15% off your first quarterly term or josh40 for 15% your first annual term.


Jan 17, 2017

On this episode of The Colorist Podcast, I talk with veteran film color timer, Dale Grahn. Long before films were colored using computers, Dale color timed movies, using the only technology available at the time: printer points and printer lights. 

He is best known for pioneering the bleach bypass look of Saving Private Ryan, and he’s also worked on other huge films like Gladiator, Minority Report, The Ring, Die Hard, and Bram Stoker’s Dracula. 

His work included animated films like The Lion King, Aladdin, Toy Story, and Beauty and the Beast, which required a different workflow that many timers avoided altogether.

He’s collaborated with the biggest names in the industry like Steven Spielberg and Joel Silver. Currently, he is a fellow of the Colorist Society International and has directed his energy towards recognition of colorists worldwide.

On the podcast, we talk about:

  • When he got his start as a color timer
  • How timing differs from color grading or telecine
  • Gaining the opportunity to time is first major film, Predator
  • The bleach bypass look and how it happened almost by mistake
  • Director's and Cinematographer's role in his work
  • Why animated films required a different approach
  • Creating looks with the limited tools available in color timing
  • Why printer points are still used today
  • Working without seeing the immediate results of color changes
  • How the Koji Color film emulation LUTs were developed
  • ACES and getting everything to live in one color space
  • His role in Colorist Society International, and why it’s important for colorists today
  • His advice for colorists coming up today


Dale Grahn, IMDB Page 


Koji Color


Dale Grahn Color for iPad


Mixinglight Review of Koji Color


Cannibal Women in the Avocado Jungle of Death ;) 


This episode is sponsored by Use the coupon code josh10 for 15% off your first quarterly term or josh40 for 15% your first annual term.

Dec 15, 2016

On this episode of Colorist Podcast, I have a conversation with Ayumi Ashley. She is the co-founder of Mission Film and Design (MFDSF) in San Francisco, California. It's a boutique color, sound, and VFX facility, focusing mainly on commercials, music videos, and short films. She has completed work for North Face, Skyy Vodka, and Ben & Jerry's. Additionally, Silicon Valley clients like Adobe, Pinterest, and Square have also finished their work with her.

Ayumi started working as a freelance colorist while still attending college. Apple Color and the reduced price of DaVinci Resolve helped her hone her skills and enter the ranks of working colorists quickly. The combination of affordable grading platforms, higher demand for colorists, and minimal competition in her area, helped her and founding partner Matt Notaro start and run her own finishing company.

In this interview, we talk about:

• How she got started as a colorist
• Why the 5D mk ii had such a profound impact in her market
• The low cost of entry for color tools: is it a good thing?
• Working in San Francisco and why there aren't many colorists there
• Helping clients understand why they need a colorist
• Running a facility and prioritizing the budget accordingly
• Making her clients feel pampered and comfortable
• Listening and performing live for your clients
• How she uses remote reviews with Frame IO
• Handing off her work to other colorists
• Using Full DaVinci panels verses using the Tangent Element
• How to draw on inspiration when your sessions are only three hours long
• Working with software other than DaVinci Resolve

Mission Film and Design

Personal Page



This episode is sponsored by Use the coupon code josh10 for 15% off your first quarterly term or josh40 for 15% your first annual term.

Nov 15, 2016

Rob Bessette joins me on this episode of the Colorist Podcast. Rob is a senior colorist at Finish Boston and specializes in coloring commercials. With over 11 years of experience, Rob has had the opportunity to color spots for Toyota, Coca Cola, Sam Adams, Subway, Chili’s, Dunkin’ Doughnuts, and many others. 


Rob became a colorist though a more traditional path. He worked his way up from the ground level while working at night, and then mentored with a seasoned colorist. For several years, he had the opportunity to learn telecine and graded a lot of film.


I first met Rob while he was working the Blackmagic Design booth at NAB. He had the experience of hearing people’s opinions from all over the world while demoing the latest software that he had to learn at a breakneck pace.

We talk about:

  • What drew him to working in commercials 
  • How working with great directors and directors of photography shapes the way he grades
  • Strategies for working with food that will make you hungry
  • Opinions on working with the full panels and what he would change about them
  • Strategies for creating a great demo reel
  • How he uses social media for marketing and networking
  • Working the Blackmagic booth at NAB and learning the software in one day
  • Why the inexpensive price of entry for color grading is good for the industry
  • Colorist’s work that he admires
  • Software other than Resolve he would use to color commercials


Rob Bessette - Colorist Website

Finish Boston




This episode is sponsored by Use the coupon code josh10 for 15% off your first quarterly term or josh40 for 15% your first annual term.

Oct 17, 2016

In this episode, I talk with Terence Curren, a Colorist and Online Editor in Los Angeles. He’s known for unscripted television shows like Project Runway, True Life, Ghost Hunters, and many others. 

He got his start at the well known post facility, Matchframe Video, as employee number one. At Matchframe, he was one of the first editors in LA to work with Avid Media Composer, Symphony, and DS. And to this day, he still colors and finishes his shows on a Symphony. 

In 2002, after 16 years at Matchframe, he moved on to starting his own company, Alphadogs. Many LA post production professionals are familiar with Alphadogs from their monthly meet ups called The Editor’s Lounge. It’s been a hub for people to learn about new technologies, directly ask vendors questions, and socialize with other pros. It’s been a great resource for over 13 years and I’ve personally learned a ton from attending them.

In this interview, we talk about:

  • How his start in editing affects his approach to color 
  • Running his own business from a colorist’s perspective
  • The commoditization of post production gear and how it changed the business 
  • How and why the monthly Editor’s lounge started 
  • Using an Avid in color workflows and why they can save time 
  • A history lesson on the Avid DS and why it was killed
  • His thoughts on groups for colorists and how they can bring change
  • Baselight as a plugin within Avid 
  • Using the keyboard and Wacom tablet instead of a panel




Editor’s Lounge






This episode is sponsored by Use the coupon code josh10 for 15% off your first quarterly term or josh40 for 15% your first annual term.


Sep 15, 2016

In this episode, I talk with Mark Todd Osborne, a colorist in Los Angeles with over 18 years of experience. He has worked on films like Pirates of the Caribbean: At Worlds End, Bad Boys II, Hugo, Need for Speed, as well as many commercials and music videos.

Mark got his start at Company 3 and spent 11 years there working with top colorists Stefan Sonnefeld, Dave Hussey, and Mike Pethel. 

He also spent some time at Cameron | Pace, working on stereoscopic projects on Quantel Pablo.

What’s most impressive about Mark’s career is ability to work in many different genres. Working in commercials, television, cinema, music videos, and even video games has been part of his successful career. 

In this interview, we talk about:


  • The challenges and benefits of being a freelance colorist
  • Using social media and how it impacts getting booked on jobs
  • Demo reels and the strategy behind them
  • Other colorist’s work that has inspired him
  • Working on your own system vs working at a facility
  • How grading on other systems can effect how you color
  • Doing VFX and roto during color sessions
  • Advice for new colorists
  • Where the business of color grading is going next

Mark Todd Osborne’s Website






This episode is sponsored by Use the coupon code josh10 for 15% off your first quarterly term or josh40 for 15% your first annual term.

Aug 15, 2016

In this episode of the Colorist Podcast, I talk with Gray Marshall, Associate Finishing Artist at Technicolor in Los Angeles. At Technicolor, Gray has worked on the films Bridge of Spies, The Revenant, Captain America: Civil War, Ant-Man, and many others.


But before making his way into color, Gray worked in many other parts of the industry. His roots were in the camera department of Star Trek: The Next Generation, and later went on to being a VFX supervisor and owning his own company, Gray Matter Post. Gray is probably best known for epic VFX shots like the building collapse at the end of Fight Club. Working in all these different departments has given him a unique perspective on the industry. 


Some of the topics we cover:


  • When VFX should be done by a colorist
  • Working in Lustre and why colorists don’t use a panel with it
  • Should grading be completed before or after a visual effects shot
  • Stereoscopic challenges in grading
  • Comparing tools in color and VFX
  • The current state of ACES
  • The future of high end color grading, VR, and HDR







This episode is sponsored by Use the coupon code josh10 for 15% off your first quarterly term or josh40 for 15% your first annual term.

Jul 11, 2016

On this episode of The Colorist Podcast, I talk with Kevin Shaw, CSI. Kevin is the Senior Colorist at Final Frame, London and a 30 year veteran of the industry. His commercial credits include work for IKEA, Jaguar and Levis, as well as the movies “Monsters” and “Streetdance 3D.”  In addition to his work as a colorist, Kevin is a founding member of the Colorist Society International, as well as a trainer for ICA.

We discuss some misconceptions about HDR and grading, doing VFX in the color bay, and why the Colorist Society was formed.




Kevin Shaw’s Personal Website


Final Frame, London


International Colorist Academy


Colorist Society International (CSI)


Jun 15, 2016

Joining me on the first episode of The Colorist Podcast is Lynette Dunsing. Lynette is the senior colorist at Cinelicious where she colors everything from commercials to documentaries. She has worked in numerous locations: Los Angeles, Detroit, Chicago and China. She has colored music videos for Nirvana and Metallica and television shows like Star Trek and Law and Order. We talk about where the industry has been and is going, the business of being a colorist, and how coloring is different is other countries.


Learn more about Lynette at her website and at

« Previous 1 2