Colornation has added colorist Kalvin Johnson to its growing roster of remote post-production talent, expanding its lineup with an artist whose commercial work includes projects for Apple, Nike, and other global brands.
Johnson recently completed his first project with Colornation, handling color correction on a new Bissell campaign produced by Chicago-based Tessa Films.
Founded by post-production veteran Reid Brody, Colornation is built around a fully remote color-grading model that gives agencies, brands, production companies and filmmakers access to experienced colorists regardless of location.
Johnson joins the company after holding senior colorist positions at Picture Shop, Company 3 and Optimus, where he worked across commercial, branded and narrative projects.
“I met Kalvin through a producer and director who spoke highly of Kalvin and his work,” Brody said. “He relocated from Chicago to LA some years ago and has done a great job launching his career in a new city. My goal is to keep building upon what Kalvin has already accomplished.”
Johnson began his career in Chicago before relocating to Los Angeles, giving him ties to both production communities.
“I got my start working in Chicago and, although the work in Chicago is top-notch, the industry is small, and you get to know a lot of the same people,” Johnson said.
His move to Colornation also reflects the continued evolution of remote post-production workflows. While remote grading became increasingly commonplace out of necessity several years ago, Johnson sees the model less as a replacement for traditional sessions and more as an extension of them.
“Working remotely instead of traditionally is massively beneficial, especially when it feels like you’re working traditionally,” Johnson said.
For Johnson, the ability to stream real-time playback while maintaining face-to-face communication can preserve much of the creative chemistry of being physically together, while allowing relationships to continue when directors, cinematographers or clients move on to productions elsewhere in the world.
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“I often view this remote model as an extension of the traditional model,” he said. “You start the relationship with the client in the room, and that relationship doesn’t need to end just because they might be shooting somewhere else in the world.”
Creatively, Johnson says he avoids imposing a predetermined aesthetic on projects.
“I never get married to a predetermined ‘look,’” he said. “I’m always trying to make sure whatever the client has in mind, I elevate as much as possible, helping the DP’s lighting rather than fighting it.”
Brody said Johnson’s personality was as important to the decision as his reel.
“My team is strong creatively and highly capable,” Brody said. “Kalvin’s personality and talent mesh well with the Colornation roster. Everyone has a great reel, so I try to match personalities for the client/colorist relationship.”
Johnson’s arrival continues Colornation’s effort to build a roster around both high-end craft and a remote workflow that increasingly mirrors the way production itself operates, across cities, time zones and continents.
