Dailies colourists may not receive the same kind of recognition within the industry that high-end finishing colourists do, but they nonetheless serve a key role in the workflow of feature film and TV work.
They, after all, take the cinematographer’s imagery and deliver it in the form that the director, editor, and everyone else involved in the production will experience throughout the post process until the final colour. A top-tier dailies colourist shoulders a lot of responsibility for pulling out everything the DP puts into the image and shaping it in the way their client requests. This can be especially challenging today, as productions often use a wide variety of cameras, codecs, and colour spaces and expect their dailies to take on a cohesive look.
James Slattery, a highly in-demand dailies colourist, based at Company 3 London, has been entrusted with the dailies for cinematographers including Tobias Schliessler ASC (Beauty and the Beast), Fabian Wagner BSC ASC (Zack Snyder’s Justice League) Sir Roger Deakins BSC ASC (1917), Robert Elswit ASC (Mission: Impossible – Rogue Nation) and many more.
Read the full article in British Cinematographer here.