Behind every great creative project is a team of talented individuals who bring it to life. At Ambassadors, we're proud to work with an incredible team of artists, each bringing their own creativity, expertise, and passion to what we do. In this series, we're taking you behind the scenes to showcase the people behind the craft.
Today, we’re catching up with Scott Harris, Colorist at Ambassadors, to talk about his journey from the early days of post-production to his life and work in the Netherlands and how color, light, and emotion shape the stories he helps tell.
Who are you and what do you do?
I'm a color grader from Australia living and working in the Netherlands with nearly 30 years of experience shaping the visual narrative of films, commercials, and television. My role is to enhance the storytelling through color - creating mood, guiding the audience's eye, and supporting the director's vision. I've had the privilege of working across four countries - Australia, New Zealand, the Netherlands, and England, which has given me diverse perspectives on visual storytelling traditions.
How did you get your start in Color Grading?
I started my journey in the mid-90s, beginning with a year in the machine room at Australia’s top post house, where I learned the technical foundations for that role and also the role I was about to step into - understanding the equipment, workflows, and the precision required at every stage. This grounding was invaluable because it taught me to respect the technical side before diving into the creative aspects.
From there, I moved into assisting some of Australia's most talented colorists. Being mentored by these industry veterans was incredibly formative - I absorbed not just their technical expertise, but their creative decision-making processes, how they collaborated with directors and cinematographers, and their approach to visual storytelling. Those early years of watching these experienced colorists at work, learning their techniques firsthand, and gradually taking on more responsibility built the foundation that's served me throughout my career across four countries.
After gaining experience in both Australia and New Zealand, I eventually made the move to Amsterdam, originally for just two years. Thirteen years later, I’m still here.
Where do you look for inspiration? Who or what inspires you?
Inspiration comes from everywhere: the golden hour light filtering through Amsterdam canals, Kate Bellm’s ability to blend naturalistic settings with heightened, almost fantastical color palettes, or the way Gregory Crewdson constructs his cinematic photographs. I study the work of cinematographers like Roger Deakins and Greig Fraser and colorists who've created iconic looks. Films like ‘Bladerunner 2049, 'Dune,' or 'Her' show how color can become a character itself. With that said, nature is perhaps my greatest teacher - the way light changes throughout the day, seasonal color shifts, and the subtle variations in skin tones across different lighting conditions.
What’s been your biggest learning in your career so far?
That color grading is ultimately about restraint and serving the story. Early in my career, I’m sure I was tempted too often to showcase technical skills, but I've learned that the best color work is often invisible, it supports the narrative without drawing attention to itself. Also, working across different countries taught me that color perception can be culturally influenced, which makes you more sensitive to your choices.
What do you enjoy most about your job?
The collaborative moment when everything clicks, when the director, cinematographer, and I find that perfect look that elevates the material. There's something magical about taking raw footage and discovering the emotional core through color. Each project is a puzzle, and no two are the same.
What project or piece of work are you most proud of and why?
Can I choose two? For me, Nike ‘Be the Baddest’ and Samsung ‘Every Day is Day One’ have been up at or near the top of the list since I worked on them. Working on these diverse projects, the consistent creative challenge was developing multiple different looks that needed to work seamlessly across various locations while maintaining the visual integrity of each film.
Nike ‘Be the Baddest’
Samsung ‘Every Day is Day One’
What project do you wish you’d worked on?
I would have loved to work on Guinness's 'Bring To Life' directed by Johnny Green. Though it's a bit long in the tooth now, it absolutely stands the test of time. Everything about that film is remarkable - from the storytelling to the visual execution. It's the kind of project that reminds you why you got into color grading in the first place.
Guinness's 'Bring To Life'
How do you think the creative industry will change over the coming months/years? What are you most excited about?
We're at a fascinating inflection point. AI tools are presenting themselves at a rapid rate that can assist with technical tasks, but I hope they'll never replace the creative intuition that comes from understanding story and emotion. The challenge will be maintaining the craft's artistic integrity while embracing efficiency gains as we step through this ever-changing landscape together.
