Making The Grade: Shane Scherholz on Blending Innovation and Artistry
As a senior editor and colourist at PXP, Shane Scherholz is dedicated to providing top-tier colour grading and editorial services to a diverse range of clients. With a passion for post-finishing and a commitment to staying ahead of industry trends, he continually sets new standards for excellence.
Shane's journey in the industry began in the camera department, where he immersed himself in learning about camera sensors, colour science, and film stock. He expanded his knowledge when he joined the post-production team at WME 160over90, where he spent eight years working on projects for the NFL, NHL, Bud Light, Under Armor, and T-Mobile. In 2022, Shane transitioned to PXP, bringing with him a wealth of experience.
Shane first started in post-production as an editor, where he worked on a wide variety of projects, including season opener videos for the Philadelphia Eagles and the Baltimore Ravens. Additionally, he created videos for every NFL team for the League’s centennial. His prior work ranges from editorial campaigns for new products from Under Armor and Peloton to fundraising campaigns for the University of California Los Angeles, Louisiana State University, and the University of Virginia.
While at PXP, Shane has worked as a colourist for Toyota, GM, Walmart, Lenovo, P&G, Meow Mix, Planet Fitness, and numerous clients in the pharmaceutical industry. Outside of PXP, Shane has worked as a colourist for the Philadelphia Eagles, Under Armor, Golf Digest, Weight Watchers, Chase, and T-Mobile.
Shane's outstanding work has been recognised by Festival De Cannes, The Tellys, Clios, Nylon and MTV, solidifying his reputation as an accomplished professional in the field.
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?
Shane> My first job in post-production required the editors to handle the grading themselves on many projects. It was during this time that I discovered my passion for the grading process. I was captivated by the transformative power of colour grading and how it could enhance the storytelling and emotional impact of a commercial. I became so eager to reach that step in the finishing pipeline that I knew I wanted to pursue it further.
This newfound passion motivated me to deepen my understanding of colour theory, master the technical aspects of grading software, and stay updated with industry trends and techniques. Over time, my dedication to the craft grew, solidifying my desire to specialise in this crucial aspect of post-production.
LBB> What was the project that you felt really changed your career?
Shane> I was given the chance to colour a commercial for Jefferson University out of Philadelphia, PA. My collaboration with director Lori Schmon and DP Matt Batchelor allowed us to create something great. After that project I decided to pursue a career in colour grading.
LBB> How/where did you hone your craft and did you have any particular mentors?
Shane> I started my career working as a 2nd assistant camera and digital imaging technician. This experience allowed me to further understand major motion picture camera sensors and their intricacies. From there, I transitioned into post-production at advertising agency 160over90. I worked as an editor, and I was also given the opportunity to do my own colour grades. I was fortunate to have high quality footage to work with.
Regarding mentorship, I was not fortunate enough to have a colourist mentor. I have, however, been able to collaborate with some great DPs like Joshua Echevarria, Laela Kilbourn, Sean Kirby and Zach Cooper.
LBB> Tell us more about your creative process.
Shane> The first step should always be a conversation as my goal is to understand the project, including mood, and tone. It’s also important for me to appreciate why principal photography was shot in a particular way, as this ensures that I can maintain the integrity of the scene and respect the intent of the DP and director. My goal is that the colour grade will act as part of the scene and add to the overall story.
LBB> From experience, we’ve found that colourists often love art and photography - when you’re out of the studio, what inspires you?
Shane> At the age of 21, I faced a serious medical condition and nearly lost my vision. It was a frightening experience, especially for someone interested in a career in the film industry. Since my recovery, I find constant inspiration in various forms of art and colour theory. The work of other colourists is very inspiring, and I also have a deep appreciation for black and white photography.
Personally, I find that studying black and white images helps build a strong foundation in colour grading by understanding elements of chiaroscuro.
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?
Shane> I've had the opportunity to work on several music videos shot on 35mm and 16mm film, so I've come to appreciate the unique aesthetic that film brings to a project. Film has the power to define the style and mood of a production, adding a timeless quality that digital formats can struggle to replicate. However, it's essential to ensure that the use of film aligns with the overall vision and scope of the project.
One aspect I particularly enjoy is employing film emulation techniques. By studying the characteristics of various film stocks and understanding the underlying science of colour reproduction, I strive to recreate the look and feel of traditional film processing. It's a meticulous process requiring attention to detail and a deep understanding of colour theory, but the results can be incredible.
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?
Shane> Colour grading plays a significant role in commercial filmmaking when executed correctly. It's not always about creating a heavily stylised or dramatic look; sometimes, it's about subtle adjustments that enhance the overall visual coherence of the project. A skilled colourist understands when to apply a delicate touch and smooth out inconsistencies.
On the other hand, there are projects that need a more stylised approach, where the colourist's creativity can truly shine. At the end of the day, it’s about getting the visuals right for the brand and making sure it matches their guidelines.
The first conversation should always form an understanding of the dos and don’ts of a brand, their likes and dislikes. It’s also important to discuss call outs for elements that need to be enhanced like product placement. From there, I like to set looks on a wide of a scene to really dial it in then apply that to the rest.
LBB> How do you ensure that each colourist-director partnership is a success?
Shane> The relationship between a colourist and a director is so important in the filmmaking process. It's not just about technical expertise; it's about understanding and translating the director's vision.
It’s important to talk about the inspiration for the shoot and any references then move to a conversation about a few key points like the overall tone and mood, as well as how heavy-handed we need to be for the grade. Getting on the same page is so crucial, so I like to make sure open lines of communication exist.
LBB> What advice would you give to budding colourist?
Shane> Practice, watch, make mistakes, repeat. You can never stop learning. Continuous improvement is key in the world of colour grading. Each project presents new challenges and opportunities to refine your skills. By experimenting with different techniques and staying updated with the latest industry trends, you can push the boundaries of your creativity.
Additionally, seek feedback from peers and mentors who can provide insight and help you grow as a colourist. The journey of mastering colour grading is ongoing, and the dedication to practice and learning is what drives excellence in this craft.
LBB> In your opinion, what’s difference between a good grade and a great grade?
Shane> The difference between a good grade and a great grade is often subtle and not always immediately visible. A great grade should never distract from the project; instead, it should seamlessly enhance the story and tone. The best colour grading supports the narrative without drawing attention to itself.
A great grade balances elevating the project, guiding the viewer's focus, and maintaining the director's vision and the integrity of the original footage.
LBB> How is the craft and trade of colour grading changing?
Shane> As software evolves and AI enters the industry, tasks become more streamlined, making certain parts of the workflow more efficient. These advancements allow colourists to focus more on the creative elements of their work rather than the technical details.
However, while technology can enhance our capabilities, the core principles of colour grading remain timeless. There will always be trends in visual styles and techniques, but the fundamental goal is to serve the story and evoke the desired emotional response.
Staying adaptable and continuously learning is important, as is maintaining a strong foundation in colour theory and an understanding of cinematic storytelling. In an ever-changing industry, the blend of innovation and artistry will always be at the heart of colour grading.
