Making the Grade: Picking Up Golden Nuggets of Information with Matt Osborne

Based out of Company 3 New York, colourist Matt Osborne has added colour grade to major commercials for brands such as Google, Nike, Amazon and Lexus, and music videos for top-level acts including Ariana Grande, Dua Lipa, Drake, and Kanye West. He has also collaborated with A-list directors including Darren Aronofsky, Theodore Melfi and Warren Fu. 

Prior to joining Company 3, Matt spent some time at The Mill, and before then he learned the art and technique of colour grading from some of the leading artists at MPC in London, where his career began.

A native of Suffolk, England, Matt was always fascinated by all aspects of visual imagery. He earned his degree in Professional Video from the University of Gloucestershire where he fell in love with the artistic and technical elements of grading and he has pursued that passion ever since.

LBB> What was your first experience with the world of colour grading, and when did you decide that being a colourist was a role you wanted to pursue?

Matt> I was always interested in visual images, whether that would be drawing, painting, or photography. It wasn't until I got a post job at MPC and got to see what the colourists did there that I felt this is the career for me. I'll never forget the first time I walked into a colour bay. It was like a spaceship.

LBB> What was the project that you felt really changed your career?

Matt> Fairly early on in my career, I was given the chance to colour grade an H&M spot starring David Beckham and Kevin Hart. It was a lucky break for me as it really helped my reel, and clients could see I could work on higher-profile projects. Incredibly grateful to director Frederick Bond and The Mill producers for having me on that project.

LBB> How/where did you hone your craft, and did you have any particular mentors?

Matt> I've had so many great mentors over the years: Jean-Clément Soret, Tom Poole, Stefan Sonnenfeld, Paul Harrison, Ricky Gausis, George K., Seamus O Kane. The list goes on. I spent time talking to them, watching them grade. Picking up those gold nuggets of information.

LBB> Tell us more about your creative process

Matt> I always like to hear from creatives on the project and really listen to what they are thinking for the particular project. I try to get inside their head a little bit. I take the information given and project it onto the project. Of course, I love to add my personality in there as well, so it has a nice twist where I try to make it unique and impactful.

LBB> From experience, we’ve found that colourists often love art and photography - when you’re out of the studio, what inspires you?

Matt> I love looking at other people's work; it really inspires me. Just getting out of the bay and seeing the outdoors. I've recently moved to New York, where I am now based out of Company 3 New York, and the city is so inspiring. So many textures that I hope to inspire me when I work.

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?

Matt> The first thing I was taught when handling film before putting it on the scanner was to treat it like a new born baby. So naturally, when I grade film, I really like to try and respect the image. I find you don’t need to try too hard. Simplicity is better. Recreating film on digital is such a fun challenge. You're trying to add weight to the mid-tones while adding texture into the image, whether that’s adding your own grain, softening and sharpening the image, film emulation, Halation, and how these are used in tandem with each other.

For our clients visiting the Company 3 studio in New York, we have a new start of the art Dolby Atmos Theatre, which will allow them to immerse themselves into their content no matter the format. 

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?)

Matt> I think, to the credit of commercials, the looks have become much more creative than how it used to be in the States. I think with the explosion of high-end episodic and features available to stream, it has been a great reminder that colour can play an important role in commercials as well as long-form projects. Of course, there will be certain checklists brands will have, but there is always room for creativity.

LBB> How do you ensure that each colourist-director partnership is a success?

Matt> Communication is key and an understanding that our goals are the same - to make the piece the best it can possibly be. 

LBB> What advice would you give to budding colourists?

Matt> Focus on your own learning and development. There's a lot of noise out there on how you should and shouldn't do things, especially online. Constantly look for inspiration and have fun creating. There are no set rules. 

LBB> In your opinion, what’s the difference between a good grade and a great grade?

Matt> I see a clear thought pattern when I see a great grade. Subtle nuances and interesting colour palettes slightly different from the norm.

LBB> How is the craft and trade of colour grading changing?

Matt> It’s constantly evolving with the evolution of the colour grading software itself. New tools to constantly try and experiment with.