Capping what has been a remarkably rapid rise even for the fast-changing world of post production, Filmworkers has promoted Tyler Roth to colorist. Roth, who joined the facility just two years ago as an assistant colorist, and is just three years removed from graduating from Northwestern University, has worked on numerous projects over the past nine months as a final colorist including commercials, music videos and new media, earning rave reviews from editors, cinematographers, agency creatives and others. Among his credits as colorist are commercial campaigns for Walgreens, Miracle Whip, AT&T and Harris Bank. His latest project, a campaign for the Illinois Lottery and Energy BBDO, broke this month.
“Tyler is an incredible young talent,” said Filmworkers president Reid Brody. “He has a great eye and a really good feel for color-and that has caught the attention of many of our clients. He has an unlimited future.”

Editor Angelo Valencia of Beast, Chicago, who has worked with Roth on several projects, including campaigns for Miracle Whip, Aleve and Navy Federal Union, echoed Brody’s statement. “I first worked with Tyler on a music video for musician Andrew Bird,” Valencia recalled. “And because of his diligence, hard work, and the way he handles himself and the room, I pretty much have worked with him on almost all of my projects since. Tyler is definitely my first call when it comes to color correction in Chicago.”

Roth has also worked on music videos for Ace Young and hip hop artist Tha Vill, which began airing on MTV this month. Additionally, he performed final color correction on the short film “Dave Knoll Finds His Soul” that was part of Liberty Mutual’s highly regarded “Responsibility” series. Directed by Milo Ventimiglia and featuring “Heroes” star Masi Oka, the film aired during broadcasts of the popular NBC series.

Editor Jan Maitland, president of the hybrid production studio Utopic, has also worked with Roth on a number of projects and called him a great collaborator who has made vital contributions to the narrative process. “He has amazing energy and a keen eye. He’s very instinctual and a great problem solver,” observed Maitland. “We try to get into his room every chance we get.”

Roth, who began by assisting Filmworkers senior colorist Michael Mazur, got his first chance to color on his own last year, when he worked on a series of films directed by Leslie Dektor in support of Chicago’s 2016 Olympics bid. He established an immediate rapport with the director while coloring dailies for the project and eventually was asked by him to do final color for the project.

Roth was originally introduced to Filmworkers in 2007 while a film student at Northwestern University. He had had previous experience as colorist and online compositor on scores of student projects at the university and professional experience as an editorial intern at Whitehouse and Ki Editorial + Design. “Color correction occupies the halfway point between post-production compositing and on-set cinematography, both of which I loved,” Roth recalled. “I thought it offered a perfect blend of the artistic and the technical, and I knew it was what I wanted to do.”

At Filmworkers, Roth had an opportunity to learn the nuances of color correction from Mazur. “Michael was very good about teaching me the process and how to manage a commercial workflow,” Roth said. “It was an incredible opportunity to learn from one of the industry’s top commercial colorists.”

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