HD EXPO Asks: Colorist Q & A with DAVE COLE, LaserPacific Media Corporation, a Kodak Company
by Christine Purse

Dave Cole’s DI credits read like a veritable who’s who of directors, blockbusters and top cinematographers, beginning in his native Australia at Digital Pictures and continuing on to Hollywood. When Cole decided to head to Los Angeles from Australia, he wanted to work in an environment that featured a strong behind-the-picture infrastructure and not simply a pretty façade.  He chose LaserPacific. In the late 1990’s, Cole had set up Melbourne’s Digital Pictures digital film division and played a pivotal role in creating the digital intermediate industry in Australia.  His enviable pre-US credits include “Lord of the Rings:  Fellowship of the Ring” and leadership of the team of colorists on his sophomore collaboration with Peter Jackson, “King Kong.”  

Cole had just finished timing “Swing Vote,” a new film starring Kevin Costner, directed by Joshua Michael Stern and shot by Shane Hurlbutt, ASC, when he spoke about the art of his craft.

HDE: You’ve had an illustrious career. What brought you to the US and specifically to LaserPacific?

DC:  I’ve just passed the two-year mark, two years and one month actually.  I wanted to get into DI at a facility that I could help build.  LaserPacific has great rooms, great color science and a top team.  Having a team that includes talented people like Doug Jacqua, who I think is second to none, was very compelling.  And the rooms are beautiful, too.  But having a beautiful room without the science and support behind it isn’t really worthwhile. 

HDE: Would you care to highlight a few projects that were meaningful to you?

DC: Obviously, working on “Lord of the Rings” and “King Kong” are highlights.
My first DI in the US, a great introduction, was “Southland Tales,” directed by Richard Kelly and shot by Steven Poster.  That led to Richard’s next film, “The Box.” Working on a huge blockbuster like “Alvin & The Chipmunks,” I think it just passed the $350 million mark worldwide, was quite something as well. I worked with Tim Hill, the director, and Peter Collister, the cinematographer during “Alvin” and then got to work with Tom Ackerman again.  Tom was the 2nd unit DP and Director on “Alvin.” (The pair worked together on “Balls of Fury.”) I finished “Pride & Glory,” in the latter part of last year, which is scheduled for release next year.  Honestly, it’s a fantastic movie with a great cast, and working on it with Declan Quinn and the director Gavin O’Connor was completely enjoyable. And, of course, working with Roland Joffe on the initial version of “Captivity” was another high point.

HDE: Peter Jackson, Richard Kelly, Roland Joffe, Kevin Smith, Dave Klein, Steven Poster.  You have a proclivity for return engagements with creative people. 

DC:  It’s my job to keep everyone’s best interests at heart, but the director and the cinematographer absolutely have to be happy.  We really hone in on their opinion.  "Zack and Miri Make A Porno" will be my third collaboration with Dave Klein and my second with Kevin Smith.  I’ve also had second projects with Peter Jackson, Richard Kelly, Steven Poster and Roland Joffe.  These relationships lead to creative short-hand and ultimately an understanding. You get to know how to work together. When I came here from Australia, I didn’t personally know many of these people, and we have built relationships very easily.  We all work to make their projects what they want them to be.

HDE: You went on set in Boston for "The Box," Richard Kelly’s new film. Do you think set visits are important for colorists?

DC: I believe that it’s terribly important for certain projects.  That set visit enables the director and the DP to save time and money, and helps everyone understand where the DI can help.  It is often difficult to fit into the schedule, but it’s important.

HDE: DI has come into its own as part of the feature post process.  Is it now a part of the creative process as well, before production?

DC: If a director is familiar with what can happen in a DI suite, then it makes an impact on their thinking.  Last year, I was working with a director who said that one of the effects we were using inspired him to use a “look” for a character.  He was already thinking of engineering a story around something we did visually.  So, absolutely, it is now a part of the creative process.  

HDE: You’ve worked on features shot on film and with digital systems like the Genesis.  Is the color timing process any different?

DC: I’ve worked on two Genesis projects (“Balls of Fury,” “The Box,”) and have done tests with the RED ONE and the Phantom.  The creative process is different earlier on.  I like being involved during pre production, to sit down early and help with the look from the start.  Because there isn’t a “dailies” process (with non-film cameras), it is important to get the look in order from the very beginning. But once we start to time, it’s exactly the same, it’s just like film.  We get in and start to work, and an image is an image.

HDE: What’s next for you?

DC: I am about to start “You and I (Finding tATu)” with Roland in preparation for Cannes.  I’m looking forward to working with him again.

HDE: Let’s end with some wishful thinking.  If you had the power to create a DI tool, or revolutionize the process, what would you do?

DC: Obviously, we always want more, more, more and computers that are faster.  But interactive, 3D lighting would be great. I’d love to have a tool that allowed you to move lights.  As it is now, we fake it in the 2D plane, draw around objects and people and do the best we can. But, if this was a real “let’s pretend” situation that I could just make it happen, I want virtual light, not simulated light.  I want to put a light in the back of a scene or to light a face and create shadows.  That would be an amazing thing. We saw a very simple version of that a few years ago, but it hasn’t evolved or come to fruition.  Hopefully with the development of new 3D tools, it will be possible soon.

Dave Cole is Colorist at LaserPacific, a Kodak Company: www.laserpacific.com 323.462.6266.