On any given production set, there are a wide variety of jobs that help bring each and every project to life – editing, coloring, producing, directing – the list goes on.
Historically speaking, the industry has been male-dominated. The Celluloid Ceiling Report states that by role, women comprised 18% of directors, 19% of writers, 25% of executive producers, 31% of producers, 21% of editors, and 7% of cinematographers last year. Films with at least one woman director employed substantially more women in other key behind-the-scenes roles than films with exclusively male directors.
However, the tides are changing, and quickly. An increasing number of incredible women are assuming these roles and are continuing to have a major impact on the industry as a whole. Each year, we aim to spotlight a few of these incredible women, to help shed a light on their stories, as well as inspire other women to bring their own dreams and talent to life.
Marcy Robinson, Colorist
Marcy is an experienced colorist with an undying passion for film stemming from her earlier career as a photographer and analogue photographic printer. With a deep love for the medium and a firm grasp of the histories of photography and film, she has a unique talent for preserving such textures and temperatures inside of a digital world. Marcy’s work includes Noah Baumbach’s Marriage Story and DePalma, Ang Lee’s Billy Lynn’s Long Halftime Walk and Gemini Man, award-winning documentary The Truffle Hunters, and Mary Harron’s horror series The Expecting.
When did your career in post-production start? Was this something you’d always known you’d wanted to do?
I was obsessed with taking pictures from a young age and was in the darkroom by the time I was 7. My love for printing followed me into high school and college and after graduation, I opened my own lab in New York where I worked for 13 years. But the world and film started changing, and this pushed me to find a new path into color grading. I was barely able to send an email when I started as a colorist. Being rather resistant to technology has certainly hindered me in some ways, but I feel my knowledge of analog film and photography and all my years in the darkroom have benefited me in other ways.
Since you entered your role, how has it changed and evolved?
When I first started as a colorist I was nervous, I had already found that the tools involved in print were infinite and now I was entering into a world where the possibilities were even more infinite. Over time it became more natural to me and I’m now comfortable working in digital spaces.
What opportunities have you been able to have working in your role?
I’ve been stretched in a lot of different ways and met many amazing people. All in all, it’s been a very satisfying process for me. I’ve been able to grow into new ways of working and I’ve gotten to understand film in a totally different way.
What have you learned about yourself through your career experiences?
I really am always learning. I still get surprised by how each and every project can feel so different and exciting. I’ve learned that I’m open, I groove well with all sorts of people and projects, and I have the ability to work with technology in ways I never thought I would.
Can you share what excites you the most about the work you do?
Despite the intensity sometimes with tight deadlines and heavy workloads, I still love sitting down and doing the work. I really do love color grading. It’s extremely satisfying.
Read full ProductionHUB article here.