Hannah Squires
Colourist
Miles:
Hey Hannah. Welcome :)
These are the essential first questions: how did you get started in the industry, and what led you to becoming a colourist?
Hannah:
Hey Miles, so nice to meet you! :)
My journey in the industry has been rather traditional. Back in university, I discovered my passion for post-production. Starting off as a post-production runner after graduation, I gradually climbed the ladder from edit assistant to editor. This is where I really found my love for colour grading, I was instantly drawn to it and it came really naturally to me. Surprisingly, I found myself caring more about the grading than editing, and honestly, I believe I’m probably a better colourist than I ever was editor!! So I made the decision to pivot my focus and delve deeper into colour. It's been nearly a decade since I entered the industry, with about 6-7 years dedicated to grading and the past 3 years working as an independent colourist.
Miles:
Is there a lot of variation in the projects you take on?
Hannah:
Definitely! I work on a huge range of projects. Long-form work isn't something I've dabbled in extensively, so I can't definitively say whether it's my cup of tea. However, I absolutely love working on short-form content, and that's where I prefer to focus for now. So I work across commercials and content pieces, music videos and short films.
Miles:
I know you’ve expressed love for the genre before but what is it about grading music videos that appeals to you?
Any highlights too - favourites that you’ve worked on so far?
Hannah:
Oh my goodness, so many! It would be hard to pick my favourite so I’m just gonna dump a bunch that instantly come to my mind:
Do Nothing “Ameoba” Directed by Clump
Lauren Hibberd “Honda Civic” by Jack Lilley
Coach Party “Micro Aggression” by Daniel Broadley
Alamay “Surface Interlude” by Lucy Werrett
Holysseus Fly “Teach me” by Jack Lilley
Gretel Hänlyn “Wiggy” By Ben Brook
Lynks “Hey Joe” by Theo Watkins
Martin Luke Brown “look at the view” by Greta Isaac
Divorce “Scratch Your Metal” by Clump
… And so many many more but the list is getting too long. I love you all.
Miles:
Hearing to you talk, it’s clear just how focused and dedicated you are, ensuring clients are happy with your work, comfortable in your grading suite too. Are there any philosophies that you value in maintaining professional relationships?
Hannah:
Such a good question. For me, the standout grades are the ones where the Director and/or DOP and I share a clear vision, and I'm able to bring that vision to life. Through some playful experimentation, we often end up pushing it a tad further, adding something extra.
I always say (and people are gonna come for me for saying this) that there's no absolute right or wrong in colour grading. It's all about personal preference and opinions. Our goal is to create a certain vibe and emotion through colour, and it doesn't always have to be natural or realistic. That's why I adore working on music videos and short films; there's so much room for creativity and it often feels like making art.
Hannah (cont.):
One of my favourite career “mind-blown” moments was during a music video grade with DOP Jamie Harding. In one scene with intense red lighting, Jamie really wanted to push the saturation hard and I turned to him and warned him “you know if we push it anymore, the image is going to start to fall apart” but he just looked at me and said, "exactly, that's what I want." We were aiming for this very digital, unsettling, grungy, unreal ambiance. Surprisingly, pushing things to the edge, to the point we were degrading the image, worked so well for that particular piece. I'm not suggesting we should always break the image, but I love that this instance illustrates how sometimes bending the rules works!
Miles:
As already noted but for the people at home - your suite is an incredibly welcoming place. I could see it being a really nice environment to be in for however long/short. It’s a cliche phrase but I’m gonna say it: ‘I really love what you’ve done with the place’
Hannah:
Thank you so much!
Miles:
For the curious and post-savvy people out there - what software do you use?
Hannah:
I am a DaVinci Resolve Girly.
Miles:
Do you do remote grades too? How does that work (for dimwits including me)?
Hannah:
Absolutely! I'd say a big portion of what I do is remote work. Typically, I send over graded stills and work-in-progress materials for clients to review and provide feedback. It's crucial to establish a clear understanding of the client's needs through thorough briefings before diving into the session.
Miles:
Have you had any life experiences or interests that have contributed positively to your work, or is it something that feels natural in itself?
Hannah:
This isn’t really about grading, more about being freelance, but my family has been an incredible support system for me.
When it comes to business advice, I often turn to my dad. He built his own business from scratch and faced numerous challenges along the way, ultimately turning it into a huge success. He definitely provided me with the confidence and preparation I needed to trust in myself. He really encouraged me to take the leap of faith into freelancing.
During my upbringing, both my parents were self-employed. My dad managed his own business, while my mum juggled freelancing alongside full-time jobs. Their lifestyle had a huge impact on me and my sister. They instilled in us the value of working from a young age, and we've both been employed since we were 16. I worked throughout my college and university years and I'm truly grateful that my parents emphasised the importance of earning our own income and being self-reliant. It's without a doubt the reason I have such a strong work ethic.
I can’t tell you how happy it makes me that I’ve created this little business and little life for myself where I get to do something I love everyday and support myself at the same time.
Miles:
What do you see as the intellectual and creative challenges in your work?
Hannah:
I think a big challenge is, experimenting, and keeping that learning spirit alive. It can get a bit nerve-wracking to take a leap with new techniques, especially when you've got just a day to really nail a grade. It’s tempting to fall back on familiar techniques. Being your own boss also means it's tough to set aside time for training. Work tends to take over and I absolutely hate saying no to projects. I always want to make sure I keep developing and growing while still working. It’s tough!
Miles:
From looking at the websites for some of the biggest post-production companies around the world, it’s apprent that women occupy a small but (fortunately) growing contingent in the colourist profession.
Are you excited for the future of the industry, and - any words of wisdom for women looking to enter the industry?
Hannah:
I am excited. It's amazing to witness the growing presence of not just women but also non-binary and trans individuals in post-production. The talent I’m seeing is unreal. Plus, there are some incredible female directors I've got my eye on (If you’re reading this please hire me, I’m a really nice person).
My advice for women would be: you don’t have to change who you are to fit in. Don't dim your light or try to be a version of what you see dominating the industry. There's room for you just as you are. Trust your instincts, take risks, and own your space.
Drawing from my own journey, I found myself altering certain aspects of my personality while working in an agency, simply because it seemed like the senior team (mostly men) really favoured those kinds of traits. I wanted to fit into a box of what they felt that role should look like. But in doing so, I held myself back. I was desperately trying to be bold, fast, assertive with my work, instead of traits that came naturally to me, like being considerate, caring, colourful and fun. I think now my uniqueness is hopefully what people come to me for, because they see that passion and authenticity in my work.
Miles:
It was really cool seeing the skill with which you work but I was struck by your humbleness.
Doing lots of these interviews… it’s apparent how universal ‘imposter syndrome’ is.
I wanted to see if you have any thoughts about why it’s so common. Also is it a natural or healthy by-product of self-betterment? Does it limit us?
Hannah:
You’re too kind!
I don’t think imposter syndrome is healthy at all. While being humble and having a healthy dose of fear can be beneficial for personal growth, imposter syndrome is a whole other thing. Constantly doubting yourself and feeling anxious about every single project is utterly draining. It's something I struggle with and I know many other people do too. It’s something I’m trying to improve on daily. We spend far too much time second-guessing ourselves when we could be making strides forward.
Gretel Hänlyn - Wiggy
Music video
Miles:
Last question: any film/TV favourites, guilty pleasures?
Hannah:
Oh, this question is tough! There are just way too many incredible films out there.
Recently, I've had the opportunity to do the Asteroid City, Barbie, and Oppenheimer trilogy, and they were all fantastic. There's so much creativity and innovation happening in cinema right now, it’s very exciting!
I was particularly drawn to Oppenheimer from a colour perspective. It's obviously stunning, but I love the use of colour versus black and white. The black and white sequences reflected Strauss' point of view, while the colour sequences portrayed Oppenheimer's perspective. It's a clever way to distinguish objective fact from personal perception, leaving it up to the audience to interpret what's right or wrong. Colour is so fun!
And my guilty pleasure is watching Gilmore Girls like 5 times, but no guilt here.
Miles:
I need to watch Gilmore Girls. It’s long overdue.
Thanks Hannah, this has been a treat.
I’m excited as always to see more of your work! It’s always amazing and the only way is up.
Links:
