We’re delighted to announce that Company 3 has taken home an award for Outstanding Color Grading in a Live-Action Episode or Non-Theatrical Feature from the HPA (Hollywood Professionals Association).

Taking place at the iconic Television Academy in North Hollywood, Senior Colorist Walter Volpatto received the Outstanding Color Grading award for their work on Winning Time: The Rise of the Lakers Dynasty.

Attended by professionals throughout the post-production community, the HPA Awards honor outstanding contributions in color grading, editing, sound, and visual effects across episodic, commercials, and feature films.

Congratulations to all the teams involved!

 

WINNER

Winning Time: The Rise of the Lakers Dynasty

Season 2, Episode 1: “One Ring Don’t Make a Dynasty”

Outstanding Color Grading – Live Action Episode or Non-Theatrical Feature | Walter Volpatto

Credits

• Color | Walter Volpatto
• Finishing Edit | Mike Delegal
• Dailies | John St. Laurent
• Company 3, Production | Sydney Johnson, Lily Streiff, Bryce J Hodges
• Directors | Salli Richardson-Whitfield, Trey Edward Shults, Todd Banhazl, Tanya Hamilton
• DPs | Todd Banhazl, Darran Tiernan, Ricardo Diaz, John Matysiak
• Editors | Max Koepke, Felicia Mignon Livingston, Jeremy Weinstein
• Production Design | Richard Toyon

 

For more information about this year’s HPA Awards and a complete list of winners, click here.

Check out our full list of nominees and their teams below.

 

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We’re excited to announce that Company 3 has been honored with 13 nominations at the prestigious Hollywood Professional Association (HPA) Awards, recognizing excellence in color grading and sound mixing across various categories. Congratulations to all of our Colorists and Re-Recording Mixers recognized, with a big shoutout to all the talented individuals involved in these outstanding projects.

Winners for this year’s HPA Awards will be announced Thursday, November 9th, at the Hollywood Legion Theater in Los Angeles, California.

For the full list of nominees, click here. 

NOMINEES

Asteroid City

Outstanding Color Grading – Live Action Theatrical Feature | Gareth Spensley

Senior Colorist Gareth Spensley teamed with director Wes Anderson to help evoke the tone and texture of this fun, highly inventive movie. “The creative brief,” Spensley notes, “was to create a nostalgic feel of 1950s cinema through a strong, sun-bleached pastel palette and to make the black-and-white portions rather stark.”

Credits

• Color | Gareth Spensley
• Additional Color | Gareth Thomas
• Finishing Edit | Justin Eely
• Dailies | Doychin Margoevski
• Company 3, Production | Joanna Burt, Hannah Perkins
• Director | Wes Anderson
• DP | Robert D. Yeoman
• Editor | Barney Pilling
• Production Design | Adam Stockhausen

 

Barbie

Outstanding Color Grading – Live Action Theatrical Feature | Yvan Lucas

Senior Colorist Yvan Lucas worked with frequent collaborator Cinematographer Rodrigo Prieto to realize Director Greta Gerwig’s “Techno Barbie” look. With a unique overarching LUT, the digitally shot material rendered the imagery with signature shades of red, pink, blue, and other hues that have become an iconic part of this colossal blockbuster.

Credits

• Color | Yvan Lucas
• Additional Color | Nick Metcalf, Alan Gordon
• Finishing Edit | Pat Kelleher
• Dailies | Tom Klane
• Editorial Services | Company 3
• Company 3, Production | Michael Maida, Gregory Caligiuri
• VFX | Framestore
• Director | Greta Gerwig
• DP | Rodrigo Prieto
• Editor | Nick Huoy
• Production Design | Sarah Greenwood

 

TÁR

Outstanding Color Grading – Live Action Theatrical Feature | Tim Masick

In collaboration with Director Todd Field and Cinematographer Floria Hoffmeister, Senior Colorist Tim Masick’s goal was to make the shots appear “untouched and unaffected.” Masick used a high degree of specialized attention to detail in every shot, ensuring it seemed both unmanipulated and subliminally adjusted to direct the viewer’s eye to story points.

Credits

• Color | Tim Masick
• Finishing Edit | Stuart London
• Company 3, Producer | Hannah Perkins
• Director | Todd Field
• DP | Florian Hoffmeister
• Editor | Monika Willi
• Production Design | Marco Bittner Rosser

 

Teenage Mutant Ninja Turtles: Mutant Mayhem

Outstanding Color Grading – Animated Theatrical Feature | Mitch Paulson

To create the highly stylized look of the film, Senior Colorist Mitch Paulson teamed up with the animation and art directing teams. Paulson “used 3D tools that often looked more like sketches or a scene from a comic book,” making use of a vast number of mattes to fine-tune various aspects of every element in the frame, from the Ninja Turtles’ coloring to the look of their features to the way light and color interact between them and their backgrounds.

Credits

• Supervising Color | Mitch Paulson
• 3D Color | Joel McWilliams
• Finishing Edit | Jennifer Raymond
• Company 3, Producer | Vanessa Galvez-Morez
• Stereo VFX | SDFX Studios
• Stereographer | Jeremy Carroll
• Directors | Jeff Rowe, Kyler Spears
• Production Design | Yashar Kassai

 

The Super Mario Bros. Movie

Outstanding Color Grading – Animated Theatrical Feature | Jason Hanel

Senior Colorist Jason Hanel worked with the animators of the huge summer hit film, fine-tuning the look of Mario and Luigi’s world. From the New York setting to the fantasy environments in the Mushroom Kingdom, the final pass that helped bring it all together happened in Hanel’s color-grading theater.

Credits

• Color | Jason Hanel
• Finishing Edit | Patrick Clancey
• Company 3, Producer | Loan Phan
• Directors | Aaron Horvath, Michael Jelenic
• Editor | Eric Osmond

 

Wednesday

Season 1, Episode 1: “Wednesday’s Child is Full of Woe”

Outstanding Color Grading – Live Action Episode or Non-Theatrical Feature | Siggy Ferstl

From its unique tone, starting with Director/Executive Producer Tim Burton, to the clever scripts and brilliant performances, this show captured the world’s imagination. Senior Colorist Siggy Ferstl, who worked with the series’ creators and cinematographer David Lanzenberg to establish the show’s look, utilized color enhancements to underscore the Wednesday Addams sensibility. “A lot of her world is monochromatic,” Ferstl says. “The Addams family dresses in black and white and drives a black car. We play into that desaturated look in the grade, but we also help make that stand out by enhancing the colors in the world that surrounds them.”

Credits

• Color | Siggy Ferstl (Episode 1), Joanne Rourke (Episodes 2 – 8)
• Re-Recording Mixers | Mike Baskerville, Jamie Sulek
• Sound Supervisor | John Loranger
• Sound Editors | Dan Sexton, Alastair Gray
• Finishing Edit | Motassem Younes
• VFX | SDFX Studios
• Company 3, Producer | Gino Carletti
• Director | Tim Burton, Gandja Monteiro, James Marshall
• DPs | David Lanzenberg, Stephan Pehrsson
• Prod Co. | Take 5 Productions
• Production Design | Mark Scruton
• Editors | Jay Prychidny, Ana Yavari, Paul G. Day

 

Winning Time: The Rise of the Lakers Dynasty

Season 2, Episode 1: “One Ring Don’t Make a Dynasty”

Outstanding Color Grading – Live Action Episode or Non-Theatrical Feature | Walter Volpatto

In collaboration with DP Todd Banhazl, Senior Colorist Walter Volpatto completed the final grade and was “responsible for creating and enhancing the various cross-processed, bleach-bypass, KODACHROME and EKTACHROME looks in post-production.”

Credits

• Color | Walter Volpatto
• Finishing Edit | Mike Delegal
• Dailies | John St. Laurent
• Company 3, Production | Sydney Johnson, Lily Streiff, Bryce J Hodges
• Directors | Salli Richardson-Whitfield, Trey Edward Shults, Todd Banhazl, Tanya Hamilton
• DPs | Todd Banhazl, Darran Tiernan, Ricardo Diaz, John Matysiak
• Editors | Max Koepke, Felicia Mignon Livingston, Jeremy Weinstein
• Production Design | Richard Toyon

 

Still: A Michael J. Fox Movie

Outstanding Color Grading – Documentary | Stefan Sonnenfeld

Senior Colorist Stefan Sonnenfeld and Colorist Adam Nazarenko took a highly creative approach to color grading this powerful documentary, creating a consistent look throughout the piece that complemented the story. The film is an informative and emotional dive into the beloved actor’s life, work, and struggles with Parkinson’s Disease using three visual components: interviews with Michael, archival footage, and recreations.

Credits

• Color | Stefan Sonnenfeld
• Additional Color | Adam Nazarenko
• Finishing Edit | John Diesso
• Company 3, Producer | Dawn Landon
• Director | Davis Guggenheim
• DP | C. Kim Miles
• Editor | Michael Harte
• Prod Design | Matthew Budgeon

 

Wednesday

Season 1, Episode 8: “A Murder of Woes”

Outstanding Sound (Design, Editing, Mixing) – Episode or Non-Theatrical Feature | Mike Baskerville, Jamie Sulek, John Loranger, Dan Sexton, Alastair Gray

Every element of this hugely successful series contributes to its unique mixture of macabre and fun. The show’s soundscape, says Baskerville, “was different from what one would call naturalistic, and there were no ‘typical’ locations. Normally, you set the ambient sound for a location and then use some of that audio and those same settings for the rest of the series. Each scenario plays out very differently for Wednesday, so we had to approach each episode almost as a standalone [project].”

Credits

• Color | Siggy Ferstl (Episode 1), Joanne Rourke (Episodes 2 – 8)
• Re-Recording Mixers | Mike Baskerville, Jamie Sulek
• Sound Supervisor | John Loranger
• Sound Editors | Dan Sexton, Alastair Gray
• Finishing Edit | Motassem Younes
• VFX | SDFX Studios
• Company 3, Producer | Gino Carletti
• Director | Tim Burton
• DPs | David Lanzenberg, Stephan Pehrsson
• Prod Co | Take 5 Productions
• Prod Designer | Mark Scruton
• Editors | Jay Prychidny, Ana Yavari, Paul G. Day

 

Belvedere “Daniel Craig”

Color Grading – Commercial | Matthieu Toullet

Senior Colorist Mattieu Toullet’s playful color grading transforms vibrant hues in Belvedere Vodka’s ad, unveiling a side of the James Bond star that audiences have never witnessed. Unsurprisingly, the UK’s Advertising Producers Association (APA) has recognized this remarkable work as one of the standout pieces in their esteemed “APA Collection.”

Credits

• Color | Matthieu Toullet
• Company 3, Producer | Chris Anthony
• Director | Taika Waititi
• DP | Nicolas Karakatsanis
• Prod Co. | BANDITS & Hungry Man
• Edit | Stéphane Pereira, Chan Hatcher

 

Duracell x Williams Racing “Scream”

Color Grading – Commercial | Tyler Roth

Senior Colorist Tyler Roth’s color-grading further enhances the breathtaking imagery in this visually stunning campaign for Duracell batteries featuring the Duracell-sponsored Williams Racing Formula 1 team, which consists of an integrated mix of live footage and 3D graphics.

Credits

• Color | Tyler Roth
• Company 3, Producer | Nadia Dabibi
• Director / Creative Director | Ergin Kuke
• Agency | VaynerMedia
• Creative Production Company | Los York
• Unreal Engine | Impossible Objects

 

Levi’s “Greatest Story Ever Worn”

Color Grading – Commercial | Sofie Borup

In celebration of the iconic Levi’s 501 jeans 150th anniversary, Sofie Borup’s color-grading evokes a period feel with a cool and modern twist.

Credits

• Color | Sofie Friis Borup
• Company 3, Producer | Shannen Troup
• Agency | Droga 5
• Director | Martin De Thurah
• DP | Kasper Tuxen
• Edit | Peter Brandt
• Prod Co. | Epoch Films

 

Zara Man “Spring/Summer 23”

Color Grading – Commercial | Tim Masick

The arresting imagery is the essence of the beautiful Zara Man “Spring/Summer 2023” fashion spot for the Zara collection. Senior Colorist Tim Masick leaned into the cinematography’s bold colors and striking contrast to enhance the rich, glamorous imagery.

Credits

• Color | Tim Masick
• Company 3, Producer | Ryan Moncrief
• Director | Fabien Baron
• DP | Phillipe Le Sourd
• Editor | William Town, Modern Post
• Prod Co. | PRODn, Seeker