Uprising: Vanessa Aparicio’s Cross-Continental Colour Odyssey

Armed with a spectrum of crayons, the young Vanessa Aparicio would spend hours scribbling intently in her colouring books. This year, all that training finally paid off: the Glassworks colourist earned herself Finalist status for Best Colourist at the British Young Arrows, as well as a UKMVA nomination for Best Colour Grading Newcomer.

Above: Patta x Marshall 'Emberton II Patta edition'

Vanessa was born to British and Peruvian parents, and raised in Peru. “Growing up in a developing country where the film industry was almost non-existent taught me resilience, determination, and a deep passion for film,” Vanessa comments. Immersing herself in the films she could, she’d obsess over them, even going to the extent of memorising dialogues; so it was no surprise that she would choose to study film at university for five years.

“The program was fantastic – it started with theory and later became very hands-on.” Under the guidance of active industry professionals, Vanessa was able to try out a range of roles and gain a solid understanding of different stages in the filmmaking process, from producing, to cinematography, to editing. Dabbling in pre-production and production never quite felt like her true calling, but she finally found her colour grading niche when a friend invited her to join his team as a second AC. As she worked closely with DITs, she was drawn into the world of colour science, cameras, and lenses. “It felt like the perfect mix of art and science. After that, I decided to move to London, where I believed I’d have more opportunities to develop as a colourist.”

Above: Sevdaliza ft Karol G 'No Me Cansare'

Vanessa’s move to London to pursue a Master’s in Digital Effects at the National Film and TV School (NFTS) was a turning point. Brimming with talented individuals and world-class equipment like Resolve suites and Baselight, Vanessa had landed in a fertile environment for creative collaboration and the development of her technical and practical skills, building both her confidence and professional network in a new country. While there, Vanessa also had the opportunity to get her foot in the door through her first professional project as a colourist, grading a promo for a clothing brand during London Fashion Week.

Her graduation project was ‘Jellyfish and Lobster’ – a film in which two care home residents face the inevitability of aging and illness, but which ultimately celebrates life. A resounding success, it won a 2024 BAFTA for Best British Short Film. “Being part of that team felt incredibly special,” Vanessa remembers. “The story resonated deeply with most of the crew, as we came together through the shared experience of losing a close family member to cancer. The central theme shaped the visual style, and I loved being a part of crafting the look to support such a poignant story.”

Above: Stills from 'Jellyfish and Lobster'

Since joining Glassworks, Vanessa’s continued to broaden her experience on a variety of projects. She counts shaping the colour grading for Sevdaliza and Grimes' ‘Nothing Lasts Forever’ as one of the most pivotal, being able to collaborate with the director and VFX artists from the very beginning to bring the ambitious vision – which included deep fakes of Madonna, ASAP Ferg, and Julia Fox – to life.

“We aimed for a futuristic, atemporal look with metallic colours, strong contrast, and deep blacks, creating an atmosphere that felt both cold and inviting. Embracing the digital aesthetic, we added glowing highlights and used a texture equalizer to enhance key areas. A touch of grain helped integrate the VFX and gave the final look a cohesive, polished feel. I loved experimenting with this one – it was such a creatively rewarding process.” The project ultimately led to Vanessa becoming a Finalist for Best Colourist at the British Young Arrows this year.

Above: Sevdaliza ft Grimes' ‘Nothing Lasts Forever’

The commendations keep coming, with Konyikeh’s ‘Lie to Me’ black and white film noir-style music video raking in UKMVA nominations for Best Cinematography, Best Pop/R&B/Soul Newcomer, and Best Colour Grading Newcomer.

Looking back over these experiences, Vanessa is grateful for the way she’s been able to evolve as a professional at Glassworks. “It’s been essential to be part of a company that believes in you and supports your growth. I’ve learned so much from my colleagues both in Amsterdam for my year and a half there, and here in London, and I’m excited to see where my career goes next. It’s been a long and often challenging journey, and I’m so proud of what I’ve achieved. There have been times when things seemed impossible, but I’m slowly seeing those dreams unfold. I believe that the most rewarding things in life often take time and effort to materialize.”

Above: Konyikeh 'Lie to Me'

Vanessa has always felt blessed to be able to pursue what she loves: balancing artistry with precision to create work that resonates with people emotionally. “Colour and light are powerful tools that can shape our emotions and influence our behavior, which is why they’ve always played such an important role in film, art, and culture. The joy I feel when I see people’s reactions – whether it's a smile, a thoughtful pause, or an emotional connection – after they watch something I’ve been part of is irreplaceable. It’s this ability to positively impact people that fuels my passion for the craft, and it’s why I want to help promote the art of colour grading and inspire future generations.”