Film Focus with: Paul Ensby-Leading Feature Film Colourist

In this exclusive special guest interview, Film Focus’ Emily, catches up with one of the worlds leading  feature film colorists , Paul Ensby, in his Soho grading theatre at the prestigious post-production facility Company 3.

Emily Cook and Paul Ensby 2013

Emily Cook and Paul Ensby in 2013 when he was working at Technicolor


Freshly back from LA, Paul gives exclusive colourist commentaries of the trailers of four of his most recent films including Amy, Man From U.N.C.L.EThe Lady in the Van and Allegiant, explaining what it was like working on the films and intriguing behind the scenes insights. He outlines the role of a colourst, how you go about forging a career as a grader and reveals what happened when he worked with legendary director, Lord Richard Attenborough.



Paul began his career within the industry in 1990 when he followed his father and grandfathers footsteps into the Technicolour laboratory in London. There he began to work as a 35mm photochemical feature colour grader, working with some high profile directors such as Ridley Scott and Jane Campion. Just after the turn of the century, grading digitally began to rise in popularity and Paul was at the forefront of this new technology, initially with Cinesite Europe and then back under Technicolour as their principal colourist in London. He joined the ranks at Company 3 in late 2014. His credits include ‘Kingdom of Heaven‘, ‘Amy‘, ‘Hanna‘, ‘The Man From Uncle‘ and many more.

Watch the Full Video Interview (Featuring Footage from the Film)

Video Clip: Exclusive Colourist Commentary of Allegiant


Video Clip: Exclusive Colourist Commentary of Amy


Video Clip: Exclusive Colourist Commentary of Man from U.N.C.L.E

Video Clip: Exclusive Colourist Commentary of The Lady in the Van

Many thanks to Richard at Seen and Hird design for creating these super video thumbnails.

Paul Ensby video thumb naRROW

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Happy Movie Going!


This blog post was written by Emily Cook Founder of Film Focus









Photo Credit : Marianne McCourt

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