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Manuel Canchola is a freelance colorist based in Mexico City. He works on a mixture of commercials, television and film and uses this variety to continuously improve his skills as a colorist. Canchola, a passionate advocate for new technology and, in particular, high dynamic range, recently spoke with Digital Cinema Report about his career and his work in color grading.

Wonder Wheel, from Amazon Studios, reunites Allen with veteran cinematographer Vittorio Storaro, who was behind the camera for Allen’s Café Society, where his cinematography earned the biggest raves from critics reviewing the film. The movie also reunites colorist Anthony Raffaele of Technicolor PostWorks New York and DIT Simone d’Arcangelo.

For Nissan’s Return of the Snowman spot, visual effects specialists The Embassy in Vancouver banded together with post house Alter Ego in Toronto. The Embassy is well known for its photo-realistic, hard surface VFX work, from creating the digital Iron Man suits for all three films to building massive drop ship hangers for The Hunger Games trilogy. Having worked on countless commercials with Alter Ego, The Embassy made the decision to become part of the creative process for grading, to improve the efficiency and precision of their VFX work and present a consistent preview to their clients.

Clint Eastwood’s biographical drama Sully was color graded at Technicolor LA by colorist Maxine Gervais. Produced by Malpaso Productions, the film tells the true story of pilot Chesley Sully Sullenberger, portrayed by Tom Hanks, and applauds him as a hero after he safely landed US Airways Flight 1549 in the Hudson River in New York back in 2009, saving 155 lives.