Staff Spotlight: Graeme Hayes

Graeme Hayes is an experienced colour grader with a career spanning over 25 years. We caught up with him to discuss his career journey, what inspired him to join Azimuth, and his approach to colour grading. He also shared experiences that fuelled his passion for colour and continue to shape his creative work today. Read more below.

Q: What inspired you to join Azimuth?
GH: I’ve spent most of my career in well-established companies, so joining a newer team was appealing. The modern workflow and state of the art equipment here really stood out, but what sealed the deal for me was the clear vision from upper management.

Q: Why did you choose to specialise in colour grading?
GH: I’ve always had a strong visual inclination; I’m not really the admin type! I started taking pictures and developing black-and-white film when I was 15, and for my 16th birthday, I got my own darkroom setup. Learning how to take, develop, and print my own photos gave me a solid understanding of light, contrast, and composition which are skills that translate directly to what I do as a colour grader. It wasn’t something I planned at the time, but those early experiences shaped my career path in a big way.

Q: What types of projects do you enjoy grading the most?
GH: I really enjoy grading projects related to news, current affairs, art, and music and am usually drawn to those themes. Azimuth is a great fit, because the projects I get to work on here are varied.

Q: What did the early days of your career look like?
GH: I studied Photography, Film, and Video at university and also took a studio photography course at Wolverhampton Polytechnic - which definitely dates me to a certain era! After that, I started as a runner in Soho, back when everything was still film-based and linear, and I spent a lot of time transporting film reels around Soho. It was an exciting time because non-linear editing systems like Avid were just emerging. I happened to be one of the few people comfortable with computers at the time, so I quickly transitioned into a role as a telecine assistant, working on feature film rushes. From there, I became a junior telecine operator at the Machine Room, where I went from handling small projects to mastering feature films for video deliverables.

Over the next 17 years, I specialised in film-to-tape transfers before shifting my focus to broadcast projects. I found that I really enjoyed the fast-paced nature and the variety of broadcast work, it kept things interesting.

Q: Are you still developing pictures these days?
GH: I do, but not as often as life gets busier. I recently taught my daughters how to develop film. It was a great to share something I loved at their age.

Q: What do you believe makes a good colour grader?
GH: Listening. That’s absolutely key. A good colourist needs to understand what the client wants, it’s not about pushing your personal style or following the latest trends. You’ve got to pay attention to the references they bring and interpret their vision. Of course, having a strong visual aesthetic helps, and I find watching a lot of tele helps to see what people are doing. I also enjoy meeting with other colourists to exchange ideas and techniques. It’s a field that’s constantly evolving, and those discussions are a good way of staying up to date.

Q: Are there any colourists or inspirations that influence your work?
GH: I’ve been lucky to work alongside some really talented colourists over the years, and I’ve learnt something valuable from each of them. I’m always taking on new ideas and techniques and incorporating them into my own work. It’s not about replicating someone else’s style, but about finding what resonates with me and using that to shape my approach.

Q: What do you enjoy doing when you’re not working?
GH: I play a lot of snooker. And this year my car celebrated it’s 62nd birthday, it’s a Series 2A Land rover. And I still to this day shoot and develop my own black-and-white film.