Originally posted on Filmworkz.
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We’re rejoined by Max Goldini a year on from his first podcast episode with us. Now Senior Colorist at Picture Shop in the UK, has mastered the art of storytelling through color. Based between Manchester and London, Max works across scripted and unscripted content, shaping visuals that resonate emotionally while enhancing the narrative.
Max’s career has been shaped by his ability to adapt to the demands of each project. “The difference between scripted and unscripted work is all about preparation,” he explains. “With scripted, you have time to plan and execute a vision. There’s a script, a lighting plan, and detailed production design to guide you. But unscripted needs adaptability. You’re often working with footage shot in unpredictable conditions and piecing it together to create a seamless narrative.”
Peacock S2 (2022) | BBC
Shaping Stories
For Max, color grading is not just about visuals; it’s about storytelling. Every decision he makes shapes the emotional tone of the project. On Passenger (2024), Max faced the challenge of maintaining consistency across two seasons of production. “We started shooting in winter and ended in spring, the trees were greener, the skies brighter, but the story demanded an autumnal atmosphere. We had to scale back the greenery and adjust the tones to create that subdued, moody feel.” The team faced the task of “manipulating time” to align visuals shot during different seasons.
In unscripted projects, the focus is on blending diverse footage into one cohesive story. “You’re working with moments filmed months apart, sometimes in completely different environments, and making it feel like one continuous world.”
Hell Camp: Teen Nightmare (2023) | Netflix
Color is a tool for setting tone and mood. “It’s the first thing audiences see, and it shapes their emotional experience. Whether it’s the warm, airy feel of a romantic scene or the dark, unsettling tones of a thriller, color leads the way before any dialogue is spoken.”
Collaboration at the Core
Collaboration is imperative in all of Max’s work. Whether he’s working with directors, DOPs, or editors, communication is critical to achieving a unified vision. “You’re building a look together, and that requires trust” he emphasizes.
On Passenger, Max worked closely with Director Nicole Charles and Cinematographer Evelin Van Rea to establish a distinct visual tone. “We set rules for the look—subdued backdrops and strong, natural skin tones—and let those rules guide us throughout the project.”
The Evolution of Technology
Technology continues to play a significant role in Max’s work. Tools like ClearView and proxy workflows have made global collaboration seamless, enabling teams to work together across continents. “Remote tools and high-speed servers have allowed us to collaborate more efficiently and make projects more accessible,” Max says. “These tools have opened up opportunities that wouldn’t have been possible even a decade ago,” he says.
Passenger (2024) | ITV
While Max sees potential in AI for tasks like balancing footage, he believes the human touch will always be central. “Color grading is about evoking emotion. That’s something AI hasn’t mastered (nor will it). The creative intuition and ability to connect with a story is what resonates with audiences.”
What’s Next?
Max’s passion for his craft continues to drive his work. His approach highlights the power of collaboration, creativity, and technology in shaping how audiences connect with stories. The ability to adapt and innovate in an evolving industry makes him and Pictureshop standout in the world of color grading. Even the smallest details can make the biggest impact on screen.
Look out for Max’s work on upcoming series for BBC, Acorn and Sony in 2025. Titles to be announced soon.