BIO 

Contact for detailed CV

Catherine began her career working in post-production. To round out her knowledge in the art of filmmaking, she moved into production

as a continuity person, 2nd and 1st AD, Post Supervisor and then finally back to post as a colourist, which became her passion.

She was trained by a well-respected colourist who had been a film timer and who insisted she spend time in the lab to have a full

understanding of the film process: to be fully acquainted with film grain and texture, colour timing in the lab, aspect ratios, projectors,

and all related lab elements that are of immeasurable value when it comes to the DI process and digital film colouring.

 

Highlights in her career have been the projects worked on with the talented, award-winning DOP’s, Directors and Producers and the forming

of enduring, creative relationships within the international community, both in feature films and commercials.

Films such as Blood Diamond, working with DP, Eduardo Serra right from pre-production to establish the look.

Flight of the Phoenix, DP Brendan Galvin, Dir. John Moore and working closely with editorial, Don Zimmerman  (The Godfather).

Catch a Fire, and the close communication with DP Ron Fortunato (Basquait, Gossip Girl), Dir. Philip Noyce (Clear and Present Danger)

and editor Jill Bilcox (Romeo and Juliet).

She worked with the demanding and very talented Darius Khondji on The Interpreter; DP Alar Kivilo, (Frequency, The Blind Side);

Dir. Charles Burnett; Dir. Paul Shapiro and so many others.

Through Virgin Mexico, working in advertising with the extremely creative Mexican crowd including DP, Rodrigo Prieto, Focus Films.

 

Catherine has worked on commercials around the world, developing broad cultural references and an adaptable and very personal style

ranging from naturalistic to hard hitting abstract looks.

Having been raised in a French culture (Montreal), she is highly sensitive to creating very stylized looks. She approaches the digital film step by step, respecting the lighting, texture and grain always maintaining a filmic essence. She sets up looks from normal to warm, to cool, to abstract, so that when the client walks in, the range of the d-film is in stored memories ready to be explored and further enhanced.

 

“To make every session a joyful, inspired and pleasant experience for all my clients.”

Catherine focuses on client services and working with the facility to provide a high level, quality service; whether it be communication between herself and the Creatives, extra preparation beforehand and a peaceful and comfortable atmosphere where everyone feels respected and listened to. 

She feels it is essential to have sensitive, artistic understanding and collaboration with the DP and Director to help bring to fruition the level of imagery they have shot and envisioned, all the while maintaining an ease within a relaxed and pleasant environment.

Catherine considers the evolution of her internal process, learning how to adapt and stretch one’s expressive self, to accommodate visions from around the world - to be one of the most productive parts of the process. To create looks and feelings with colours, and to have the ability to communicate these with all types of talented people. With receptiveness, insight and respect for different visions, it has been creatively and visually important to have experienced working on all the continents. 

 

“The creation, with ease, of sophisticated balanced images that tell the story is an inestimable skill.”

 

She has had the good fortune to have worked with some of the best engineers and technical staff in top facilities within the international community; places where the client’s technical needs were always expanded on and systems where improved and pushed forward. 

The importance of a strong technical acuity and subtle, detailed work has been foremost.

Through her contacts and with the companies of cutting edge gear she demos for, daVinci and Thomson(DFT-film) to name some.

She has had access to technical advancements and people associated with them: for example, the ASC Technology Committee and DI subcommittee, where members and friends have kept her abreast, no matter what market she was in, of all the working groups and

the subjects as they evolved such as LUTS, CDL, DCP.

 

To Catherine, the merging of the Technical with the Creative is an evolved privilege of our times that is to be respected and valued

every working day.

 

Demo Artist/Instructor:

NAB-Las Vegas/ IBC-Amsterdam/ Interbee-Tokyo/ SMPTE Expo-Sydney/ BIR-Beijing/ LA -targeted demos

 

DOP’s, Directors and Editors (privileged to have worked with) –Partial list-

Eduardo Serra                             Ed Zwick                                     Don Zimmerman

Darius Khondji                             Phillip Noyce                             Jill Bilcox

Alar Kivilo                                     Paul Shapiro                              Bill Goddard        

Rodrigo Prieto                             Charles Burnett                         Steve Rosenblum

Brendan Galvin                            David Cronenberg

Ron Fortunato                             Darryl J. Roodt

Jeremy Benning                          Bruce McDonald

 

Contact for detailed CV

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