Making The Grade: Mike Matusek on Adaptability and Keeping Up with Change

Meet Mike Matusek, the visionary founder of Nolo Digital Film, boasting over two decades of expertise in the intricate art of colour grading. From the outset, his mission was crystal clear: redefine film colour grading through the adoption of state-of-the-art tools such as Arriscan and Baselight. Fast forward to today, Nolo flourishes, drawing in industry giants and achieving milestones like coloring Super Bowl spots or restoring cinematic gems like Tobe Hooper’s “The Texas Chainsaw Massacre.”

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?

Mike> My first job out of college was working at LaserPacific in Hollywood. During the summers when all the broadcast shows were on hiatus, the episodic colorists had some down time. The senior colorist took me under his wing, and gave me a canceled Aaron Spelling show to color. Upon completition, he walked me through my entire grade. I was hooked.

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

Mike> The first feature I graded was a 16mm documentary called “Stevie” by director Steve James. I believe, especially for a young professional in this industry, confidence can be as crucial as any skill. Gaining the trust of talented directors, creatives, and producers with their projects can be immeasurable for your career. Now, 21 years later, I've just finished grading Steve James' latest project, the ESPN 30 for 30 series 'The Luckiest Guy in the World’.

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

Mike> I honed my craft during my first position as a colorist at i-cubed in Chicago. Given Chicago's status as a hub for numerous large ad agencies, I had the opportunity to collaborate with various creatives and directors, significantly shaping my perspective on color. My initial mentor was Tom Overton from LaserPacific. He taught me all the fundamentals of color and instilled in me that a colorist mentor can only teach you how to be a colorist. However, developing an eye and good taste as a colorist required putting in the hours. Another early mentor, director/photographer Dennis Manarchy, played a pivotal role in helping me understand the importance of maintaining the tonal balance in an image.

LBB> Tell us more about your creative process e.g.when you get a project, how do you go about developing a look?

Mike> The desired look often begins with the mood the client aims to create. If there's time before the session, jumping on a call or getting color references can help focus on the color direction. However, for commercial projects, pre-visualizing chats before the session are typically not feasible. In such cases, I 'play' with the footage, take the look where I believe it should go, and present it to the client. Sometimes clients need to see a look to react to it, and offering them a first look based on my instincts is usually a good starting point.

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

Mike> Being a professional colorist involves spending way too much time in a dark room. So out of the studio I prefer to be outside. Nature inspires me. Hugging a big old tree can do wonders for the soul. 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.

LBB> 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?

Mike> I grew up as a colorist working with film, literally hanging film on a telecine. When I started my company Nolo Digital Film, our first purchase was an Arriscan film scanner. I love film. Film feels alive compared to digital formats. However, as the years pass, justifying the process of shooting on film, especially in the commercial world, becomes increasingly challenging due to the fast turnaround time. It’s a lot easier to add film grain than to remove it. And it’s a lot nicer to not have to clean up film dirt or scratches, and just add it when you want to. Pulling from my collection of film LUTs and applying my film grain recipe, has really allowed me to give any sort of film look when needed, modern to vintage.

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?)

Mike> The color grade plays a pivotal role with enhancing a brand. When a brand’s commercial looks high end, the brand can feel more premium. Color has the power to elevate the production value of a commercial. While most brands have an established look, this can vary based on the style of the particular spot. An anthem spot may get a more cinematic look, whereas a weekly sales spot may just need things to look bright, clean, and natural. During discussions about the spot's appearance with creatives, there's always a delicate balance to strike. It involves creating a distinctive look without straying too far from the brand's familiar image to ensure the spot connects with the intended audience.

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

Mike> Finding the right balance involves presenting your point of view and providing options while ensuring the execution aligns with their vision for the project. Sometimes it’s nailing what they want exactly, and sometimes giving them something unexpected. But usually it’s a blend of the two.

LBB> What advice would you give to budding colourist?

Mike> The most effective way to get better as a colorist is to find a way to work with as many different creatives, on as many different projects as possible. Exposure to different film styles and client preferences is the key to becoming a more versatile and skilled colorist. It's in these varied experiences that you'll gain insights and learn nuances from clients that you wouldn't find anywhere else.

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

Mike> That’s a tough one to answer. I’d just say, my favorite grades are the ones that don’t slam you in the face. I love a grade that has a vibe, but doesn’t look like someone was trying to give it a vibe.

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

Mike> The most significant change lies in the accessibility of grading tools and colorists. It wasn’t that long ago that the few colorists available worked in rooms that cost $2 milllion dollars. Today, the landscape is different. While a properly equipped and calibrated room still requires an investment, it's nowhere near as expensive as it used to be. However, there will always be a demand for high-end color grading, where speed, experience, and the latest equipment and processes are needed. Another monumental change has been with remote grading. This has advanced to the point where clients are comfortable approving color while not being in the same room as the colorist. I always hear clients say they’d much rather be I the room, but schedules just don’t allow for it consistently anymore. Adaptability and keeping up with change is more important than ever.