THE COLOURIST'S CUE

Andy Elliott, senior colourist and co-founder, Directors Cut Films, London, tells us there’s more than what just meets the eye

Elliott has worked as an offline editor, online editor, and has now been grading exclusively for over 10 years. He works across all genres, completing Directors Cut’s first 4K drama feature in late 2018. He graded the BAFTA award-winning Basquiat: Rage to Riches documentary for the BBC, and two of the winning programmes in the 2019 Broadcast Awards, including the Emmy award-winning The Fight for Mosul, directed by Olivier Sarbil. A keen stills photographer, Elliott has rich experience in both - documentary and drama productions and draws on his offline and online editing skills to ensure the most efficient outcome, technically and creatively.

How did you find your way to the colourist’s chair?

Elliott: I started out as a labourer on a building site. I escaped to become a runner and tape op, which gave me the chance to learn editing - and I went from online edit assistant to offline editor and then freelance editor. With some colleagues, I started the editing facility at Directors Cut Films in London’s West End, in 1999. Being owned and run by editors, the Directors Cut team felt we knew what was required to meet and exceed expectations in the post-production marketplace.

As our post-production services expanded, we recognised that we needed to offer dedicated grading facilities. Having always been fascinated with grading, I became a colourist.

What sort of projects do you handle?

Elliott: Most of our work is long-form television, but we do work on drama series and feature films, too. Recently we finished a commercial for Port Ellen Whisky, which was good for a lover of Islay malt.