Creative Post Council Co-Lead / Santa Monica

Siggy Ferstl

Instagram: @Siggy_Ferstl

Based at Company 3 Los Angeles. Available virtually through any Company 3 Virtual Outpost.

Siggy Ferstl has brought his keen eye and extensive technical expertise to an impressive group of major feature films, episodic TV shows, and commercials. His extensive list of credits includes the highly anticipated Netflix series Avatar: The Last Air Bender as well as that streamer’s beloved series “Wednesday,” their wildly popular “The Night Agent,” the well-received big-budget sci-fi series “Lost in Space” and international sensations “Narcos” and follow-up “Narcos: Mexico.” He has also colored a high-profile, unique-looking Prime Video science fiction series, “The Boys,” and its spinoff, “Gen V.”

As a technical innovator, Ferstl is constantly developing new approaches to color grading as his ever-evolving toolset expands. In the case of Disney’s innovative feature “Togo,” Ferstl utilized then-brand-new tools within color corrector DaVinci Resolve to collaborate with Director/Cinematographer Ericson Core on a complex and unique look to shape the film’s 1920s period look and frozen tundra feel — look development which would previously have required a significant amount of VFX work to realize. Ferstl has also colored literally hundreds of spots for major international companies, including Nike, Mercedes Benz, and Cadillac, to name a few.

Ferstl joined Company 3 Los Angeles in 2008 after having established himself as a go-to colorist, first in his native Australia and subsequently throughout Southeast Asia and London. His experience living and working in these three key regions, each with its own cultural approach to color, has given Ferstl a unique perspective on the wide variety of attitudes about art, the collaborative process, and coloring styles in these varied markets. Ferstl’s talents have been recognized by organizations including the AICE (Association of Independent Creative Editors); the Lumiere Awards, where he took the award for Best Use of HDR in a Series for his work on “Lost in Space”; and the HPA (Hollywood Professional Alliance), which has given him multiple color grading awards and even more nominations.

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