Making the Grade: Blurring Lines in Colour with Karol Cybulski
A highly focused, sought-after colourist for prominent commercials, fashion films, music videos and long-form projects alike, Karol brings a rich photographic sensibility to every project; always placing story at the heart of each and every decision she makes.
After studying at Bournemouth Film School, Karol moved to Berlin for her post-grad in Colour Grading and Science at the Deutsche Film und Fernsehakademie (DFFB) before joining CHEAT in 2018.
Since then, she has worked consistently to elevate and hone her craft - collaborating with brands such as Bentley, Rapha, and Moncler, and recently branching out into long-form, grading the 2022 theatrical feature 'She Is Love' starring Haley Bennett and Sam Riley, as well as the 2023 Netflix series 'Everything Now' starring Stephen Fry.
In 2022 she was one of just three shortlisted for Best New Colourist at the Kinsale Sharks, and at the inaugural Young Arrows awards 2022 was shortlisted in the Colour Grading category for her work on 'Calling Attendance' for Education Above All. In 2023 she was on the jury at Young Arrows and the Grand Jury at Ciclope - and this year sees her take her place as a gold judge at Creative Circle.
Just this week Karol saw her debut on the biggest commercial stage in the world - as colourist for Oreo's return to the Super Bowl with 'Twist On It', starring Kris Jenner.
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?
Karol> I first found out about grading when I was doing my undergrad at the Bournemouth Film School. I went into the course thinking that I wanted to become an editor, and was freelancing as a photographer on the side, so naturally after I discovered that grading existed, I was hooked.
I scrapped together a make-shift grading set up in my uni bedroom, consisting of a cheap Eizo monitor, and a machine just powerful enough for the job and started grading (or depending how you look at it, irreparably butchering) all the student films I could get my hands on.
LBB> What was the project that you felt really changed your career?
Karol> Jords - Almost an Adult (2020), directed by the wonderful Curtis Essel. It felt like a really special one and an early turning point in my career. As with many things, grading is a skill that takes a lot of time and practice to hone, and this is one where I remember feeling like all the pieces of the puzzle were starting to fall together.
LBB> How/where did you hone your craft and did you have any particular mentors?
Karol> I definitely found my groove working my way up at CHEAT. I’m lucky enough to have had two brilliant colourists that I can call mentors over the years, Toby Tomkins (creative director of commercial colour at Harbor), and Dirk Meier (former head of UP.GRADE).
Dirk’s philosophy and approach to grading has had a lasting influence on me, and his generosity with his knowledge massively helped me build my foundation as a colourist. I doubt Toby needs much of an introduction, his guidance and support over the years has been invaluable in helping me ride the waves of being a colourist.
LBB> Tell us more about your creative process
Karol> As colourists we’re one of the final steps in a month, or potentially year, long process of a project coming to life. We can have a quite a big impact in a relatively short space of time, so I like to work as collaboratively as possible.
I want my grades to amplify the vision that all the departments have carried throughout the project, so I like to start with an in-depth discussion to really get to grips with the world I’m helping to create.
Breaking down and discussing stills references is also an excellent jumping off point that I like to use to help me understand peoples tastes and visual preferences, so I can better translate their vision in the session.
LBB> From experience, we’ve found that colourists often love art and photography - when you’re out of the studio, what inspires you?
Karol> Oh for sure. Photography is a big one for me, I’m a big fan of collecting photography books, I love the storytelling and care that’s poured into them. Having something tactile to flick through and appreciate is a wonderful antidote to the onslaught of out-of-context images that inundate us online.
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?)
Karol> I would say that the power that grading has to guide the viewer’s eye is especially important for commercials, in allowing us to highlight certain products or areas where the focus needs to be on, and in shaping off and pulling attention away from the areas that don’t.
Consistency with other brand imagery is often a big consideration in the grade, to ensure that it feels cohesive and maintains strong brand recognition.
But consistency across the look and feel of a brand’s commercials is more up for debate, with many clients leaning into and using the power that they have in the grade to change the look and feel of their campaigns and influence the way that audiences interact with the work.
LBB> How do you ensure that each colourist-director partnership is a success?
Karol> Good tunes and mutual respect is key. The more in sync with them I get, the easier it all flows.
LBB> What advice would you give to budding colourists?
Karol> The key is to learn as much as you can, and practice, a lot. I can only speak for the ‘traditional London’ runner > mcr > assistant > colourist route, but there is so much opportunity in that route to learn from those around you to level up your work.
LBB> In your opinion, what's the difference between a good grade and a great grade?
Karol> It’s all in the nuances and subtleties for me. A good grade looks nice, but a great grade is one that makes you feel something and fits the project perfectly.
LBB> How is the craft and trade of colour grading changing?
Karol> I’m seeing a blurring of the line between VFX and colour more and more. It’s often helpful for clients to see rough comp mock ups in the grade, to help cut out some of the guesswork and more accurately assess the colour, but most things are still better left to the experts (flame ops/ nuke artists) who do what we can do with infinitely more polish.
Also, as much as I’ll always prefer the energy and fun of in person sessions, I’m happy that remote grading options are here to stay, connecting us with projects all around the world.
