Senior Colorist Abe Wynen shares his insights on moving from Melbourne to Toronto
Abe Wynen, a senior colorist at Red Lab in Toronto, has built a reputation for crafting striking visuals across commercials, music videos, and, more recently, long-form content. In this in-depth conversation, he shares his experience transitioning from Melbourne to Toronto, refining his workflow, and navigating client relationships in a new market.
Throughout our discussion, Abe offers technical insights into his evolving approach to building node trees, the balance between using LUTs and CSTs, and how he adapts his efforts to different color spaces. He also delves into the creative aspects of color grading, from achieving rich contrast in music videos to handling VFX-heavy commercials.
To anyone wanting to find the right color grading projects, Abe’s advice is:
“It’s about finding the work that you would like to facilitate. Go out there and look for all the other artists that are creating that kind of project and be the big support that they need to make the most of that opportunity and that story, and make it as pretty as you can make it.”
Abe Wynen
Abe Wynen, Senior Colorist
Building client trust from scratch
One of the projects Abe discusses is the music video Healing by Gordo X Drake, where he manipulates his contrast curves to achieve soft, chalky blacks.
Abe Wynen’s music video project
Abe’s journey from Melbourne to Toronto highlights not only the technical mastery required to succeed as a colorist but also the importance of adaptability, collaboration, and community. Recognizing the lack of an established Colorist Society International (CSI) chapter in Canada, Abe took the initiative to launch one, fostering a new community of fellow colorists who share their knowledge with each other.
Key takeaways from this Insight
Dive into our discussion to pick up insights on:
Evolving Your Node Tree – Abe has refined his node tree to be highly modular, adapting it for different camera formats, projects, and artistic goals.
LUTs vs. CSTs – Abe often prefers node-based CST workflows for commercials, allowing more control over look development.
Jumping Between Color Spaces – When applying noise reduction, he moves to linear gamma to preserve detail while keeping a filmic look.
VFX Integration & EXR Workflows – Abe uses EXR files and pre-keyed mattes to achieve precise color separation and depth, ensuring seamless integration between live-action and VFX elements.
Building Client Trust from Scratch – Moving cities meant not only adapting to a different commercial market but also rebuilding confidence and client relationships from scratch. Abe discusses how every new client initially “tests” a colorist before full trust is established.
The Size of the Commercial Market – Compared to boutique facilities in Melbourne, Abe finds Toronto’s commercial industry has larger teams and more in-person collaboration, requiring a different approach to client sessions.
The Role of Pre-Session Prep – Whenever possible, Abe arrives early to test looks and spot potential issues before the client arrives, ensuring a smoother color grading session.
Horror & Narrative Grading – Abe shares his experience working on Tales from the Void, a horror anthology requiring distinct visual styles for each episode, from desaturated realism to stylized, high-saturation horror.
Film Scanning Approaches – He follows a “keep it simple” philosophy when grading scanned film, often treating it similarly to an ARRI Log workflow rather than overcomplicating with excessive CST conversions.
External Links
Check out Abe’s work and the other mentions in this interview:
15 Minutes With Award-Winning Colorist Ana Escorse – The Color Timer speaks with award-winning, Toronto-based colorist Ana Escorse about her unlikely career path, love of Brazillian Baroque art, and judging.
Building ‘Crayon’ – An Artist-Focused Color Grading Boutique – Abe got his start at Crayon, run by Colorist Daniel Stonehouse, who shares why a successful grading career requires more than a great reel and how he helps creatives collaborate.
Learn How To Build Your Custom Film Print ODT – Cullen Kelly shows you how to build a custom transform by combining a film print LUT with basic color science – to add style to images.
Chapters
00:00 – Introduction and Toronto pronunciation
01:09 – Comparison of Canadian/Australian work experiences
04:09 – Red Lab facility structure and team dynamics
06:16 – In-person vs. remote color grading
09:25 – Suite setup and client positioning
12:18 – Music video and commercial work
14:13 – Abe’s grade on the Healing music video
20:01 – Node tree setups and evolution
22:16 – Pre-session preparation and client confidence
28:12 – VFX workflows on Google commercial
29:14 – Color management approaches
31:35 – Noise reduction techniques and workflows
38:47 – Long-form workflow and show LUTs
42:04 – Tales from the Void horror anthology
49:23 – Blood grading techniques for horror
52:04 – Establishing CSI Canada chapter
56:41 – Sharing work on social media
58:50 – Music in the suite and client preferences
63:43 – Advice for aspiring colorists
66:44 – Film scanning and grading approaches
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Crafting Looks, Building Workflows, and Thriving in a New Market
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