Компания Colornation расширила штат приглашением известного колориста Калвина Джонсона

Colornation, the remote color grading company founded by postproduction veteran Reid Brody, has expanded its roster with the addition of colorist Kalvin Johnson whose commercial portfolio includes standout work for Apple, Nike, and numerous other global brands. Johnson recently completed color correction work on a new campaign for Bissell, produced by Tessa Films, Chicago, marking his first project with Colornation. The addition continues Colornation’s mission of giving agencies, brands, production companies, and filmmakers seamless access to world-class colorists working entirely remotely, without sacrificing creative collaboration, image quality, or the high-touch client experience traditionally associated with in-person finishing sessions. “I met Kalvin through a producer and director who spoke highly of Kalvin and his work,” said Brody. “He relocated from Chicago to L.A. some years ago and has done a great job launching his career in a new city. My goal is to keep building upon what Kalvin has already accomplished.” Prior to joining Colornation, Johnson held senior colorist positions at Picture Shop, Company 3, and Optimus, where he established a reputation for crafting sophisticated, cinematic imagery across commercial, branded, and narrative projects. “I met Reid only recently, but much of our circle overlaps,” said Johnson. “I got my start working in Chicago and, although the work in Chicago is top-notch, the industry is small, and you get to know a lot of the same people.” Johnson said Colornation’s collaborative remote workflow reflects how many of today’s productions operate globally while still preserving the creative chemistry between clients and artists. “Working remotely instead of traditionally is massively beneficial, especially when it feels like you’re working traditionally,” Johnson said. “To me, there’s nothing better than being in the room looking at the same display, but having remote technologies that allow for real-time playback and a call that lets you see each other’s faces is nice. I often view this remote model as an extension of the traditional model: you start the relationship with the client in the room, and that relationship doesn’t need to end just because they might be shooting somewhere else in the world.” Johnson’s creative philosophy has always centered on the quality of the work itself rather than the size of the production. “I’m proud of the work I’ve done, both my commercial and narrative work,” Johnson said. “I think what my clients appreciate about me is that I never get married to a predetermined ‘look.’ I’m always trying to make sure whatever the client has in mind, I elevate as much as possible, helping the DP’s lighting rather than fighting it.” For Brody, Johnson represents another step in building a roster defined as much by collaborative personalities as exceptional artistic talent. “My team is strong creatively and highly capable,” he said. “Kalvin’s personality and talent mesh well with the Colornation roster. Everyone has a great reel, so I try to match personalities for the client/colorist relationship.”