Written by Anton Lee
In the world of professional color grading, Beatrice Tremblay stands out not only for her technical expertise but also for her artistic vision. In this interview, Beatrice shares her thoughts on her craft, her inspirations, and her approach to working with some of the most prestigious brands and filmmakers in the industry.
AL: You’ve worked with brands like Louis Vuitton, Marc Jacobs, and YSL. What’s it like collaborating on such high-profile projects?
BT: It’s incredibly rewarding and challenging at the same time. These brands have such strong visual identities, so every detail matters. I collaborate closely with the creative teams to ensure the colors not only enhance the visuals but also embody the brand’s essence. Whether it’s the sheen of fabric, product or the glow of a model’s skin, everything needs to be perfect.
AL: One of your specialties is working skin tones. Can you tell us more about your approach?
BT: Skin tones are one of the most critical aspects of my work. They’re not just about color but about emotion, storytelling and perspective. Every hue and shadow contributes to how a person’s character and presence are perceived on screen. I take great care to ensure that every complexion looks authentic and beautiful, regardless of lighting conditions or style. It’s about celebrating diversity and creating images that resonate with all audiences.
AL: The documentary, A French Youth, won many awards, celebrated for its groundbreaking storytelling. How did you approach this project?
BT: A French Youth was an incredible opportunity to push boundaries. The director and I discussed at length how we wanted every individual to shine in their own way. We did extensive tests on lighting setups and wardrobe colors to ensure the tones would complement each other beautifully. The biggest challenge was to make everything cohesive as it was shot over several years. I used custom grading techniques tailored to highlight natural skin textures while maintaining harmony across the visual palette. Seeing the positive audience response made all the hard work worthwhile.
AL: Innovation seems to be a big part of your craft. How do you stay ahead in such a rapidly evolving field?
BT: I’m always curious and willing to experiment. I’ve been exploring custom LUTs, AI-driven tools, and even unconventional grading techniques to push boundaries. Technology is a powerful tool, but it’s only as effective as the creative vision guiding it. I love blending technical precision with artistic intuition to deliver something fresh and impactful.
AL: Could you share your process behind working on Cirque Du Soleil, Discover the Extraordinary?
BT: Working on Cirque du Soleil’s brand campaign was both an exciting and challenging experience. The project originally began while I was working as a colorist at Sid Lee, but it was abruptly put on hold when the pandemic struck. At the time, I thought it had been shelved indefinitely. Fast forward two years, I was surprised to see the project resurface on my schedule. At first, I wasn’t sure if it was the same campaign, but indeed, it was, and the timeline was incredibly tight.
The main objective for this campaign’s color work was to embrace bold, vibrant visuals, rich colors, strong contrasts, and luminous imagery. Since the campaign featured a mix of mediums, from digital to film, each vignette had its own unique color palette and tone. The challenge was to maintain a cohesive look across the entire edit, ensuring all the pieces blended seamlessly into a unified visual experience.
Collaborating closely with director and DP Derek Branscombe, we meticulously balanced the individual character of each vignette while tying them together with consistent color grading choices. The result was a visually striking campaign that stayed true to Cirque du Soleil’s iconic brand while celebrating the vibrancy and diversity of its performances.
AL: You often get involved in projects before the shoot even begins. How does this early collaboration shape the final result?
BT: Color isn’t just an afterthought, it’s integral to the storytelling process. When I’m involved early, I can work with directors, cinematographers, and production designers to create a cohesive visual plan. We discuss lighting setups, wardrobe colors, and set designs to ensure everything aligns with the intended palette. This level of collaboration ensures that the color grading feels seamless and intentional.
AL: What has been one of the most rewarding aspects of your career so far?
BT: Seeing the impact of my work on audiences is incredibly fulfilling. Whether it’s a luxury campaign that exudes elegance or a documentary that draws people into a deeply emotional story, I’m driven by the idea of making people feel something powerful. I’m also passionate about mentoring emerging colorists and encouraging them to find their own voices in this field.
AL: How does working closely with students benefit your career?
BT: Collaborating with students, especially through institutions like l’Inis, a renowned film institute here in Montreal, is incredibly rewarding and mutually enriching. Mentoring emerging talent allows me to see the craft through fresh eyes, often introducing me to new perspectives and creative approaches I might not have considered. Their curiosity and willingness to experiment reignite my own passion for innovation and push me to refine my teaching and communication skills.
Additionally, working with students helps me stay connected to the next generation of filmmakers and colorists, offering insights into evolving trends and technologies they’re exploring. It’s a two-way exchange: while I guide them in mastering the technical and artistic aspects of color grading, they inspire me to continually grow and adapt in this ever-changing field.
AL: What advice would you give to someone aspiring to become a professional colorist?
BT: Be patient and curious. This field requires both technical skill and a deep understanding of storytelling. Everyday I learn new tools and new ways of doing things, it’s an ongoing process, so don’t be discouraged. Learn to see beyond the surface of an image and think about the emotions it conveys. Also, don’t be afraid to experiment and make mistakes, that’s often where the best learning happens.
AL: Lastly, what inspires you to keep innovating and striving for excellence?
BT: The potential of color to transform a story is endless, and that’s what keeps me inspired. Every project brings a new challenge, a new opportunity to push the limits of what’s possible. Ultimately, it’s about connecting with people—whether through a stunning visual or a subtle detail and making sure the work resonates long after they’ve seen it.
