To celebrate Technicolor’s Centennial, Technicolor is launching a new 100 Year Digital Storybook – an immersive, interactive experience that tells the story of Technicolor.

Technology is at the cornerstone of Technicolor’s business, however technology cannot exist without the people who create, innovate, and deliver the experiences that consumers crave.  Technicolor’s continued innovation enables the company to be pioneers on the next great frontier of storytelling, and to provide consumers with the digitally connected lifestyle of the future. At 100 years old – Technicolor is just getting started.

Click here to explore the Digital Storybook.


The Design & Visual Effects division at Technicolor Toronto is a dedicated and multi-talented team who strives to support our clients and help tell their stories.  We collaborate with them on both series and feature content to execute designs that are visually creative and offer purposeful solutions.

The team enriches Technicolor’s existing business offering with their stunning main title designs as well as the shaping, creation and integration of striking visual effects.

Check out the latest Main Title montage from our Award Winning team.


Brett has been with Technicolor for over ten years and has an extensive knowledge of post-production and colour. His versatile skillset has seen him work successfully on all genres including Drama, Documentary, Feature Films, 3D and TV Broadcast .

How did you discover Colour?

I started as a colourist assistant transferring 35 and 16mm here at Technicolor. From there I moved on to dailies overnight, where I was also lucky enough to do final colour on smaller projects. These experiences got me thinking about how various clients reacted differently to the same material. This then motivated me to not only to give people what they want, but also to offer options when they were unsure about the look of their project. I also asked colourists a lot of questions about how and why they did certain things. Then as technology advanced, I was given more opportunity to use that skill and knowledge and apply it during final colour finishing.

What type of projects do you like to work on?

I really enjoy working on projects that are beautifully shot and I’m enhancing the photography together with the creative team. 3D film is also very rewarding and is an entirely different beast than 2D.  Paying close attention to brightness levels and the interactivity between the left and right eye is challenging. It’s completely worth the effort though because I get to contribute to an entirely different and immersive movie-going experience.

Which tools and software do you use?

I’m currently working with Autodesk Lustre.

What’s been one of your highlights from the last 12 months?

I was the final colourist on Andrew Cividino’s feature Sleeping Giant . It was beautifully photographed and had an emotionally relatable story. The film has been really well received and has won numerous awards on the 2015 festival circuit. 

What’s your favorite part of your job?

This is a creative and challenging profession where I am learning something new every day. I really enjoy that no project is ever the same and that there is a collaborative aspect to my job. Once a project is complete and gone to air or to festivals it is very rewarding to see my work put together with the rest of the pieces of the creative puzzle to create a final piece of art. From changing technology to clients workflow needs, there are not many jobs out there that bring this kind of excitement on a daily basis.

Any advice you would give to someone coming into the business?

Working hard and having a good attitude are essential to be successful in this work environment.

What are your top 3 favorite feature films?

Children of Men, Thin Red Line, No Country for Old Men

What advice would you give your younger self?

Take risks and believe in yourself.

Recent Credits:

Houdini & Doyle, Season 1 (in production)

Sparks 3D

The Secret Life of Marilyn Monroe

Sleeping Giant

The Book of Negroes

Len and Co.,

Imax – A Beautiful Planet


Isabelle Lussier has collaborated on numerous projects such as Louis Cyr: L’homme le Plus Fort du Monde, Antoine et Marie, The Girl King, Gerontophilia and Red Tent.  She has been  working in the Technicolor sound department for eight years on major broadcast and theatrical projects.  After her training in sound designing, Isabelle began her career at Cirque du Soleil as a sound technician. Throughout the years, she still works as a soundman and sound designer in the theater and dance industry.

You have been with Technicolor for the past eight years, what does that mean to you as a sound mixer?

Being able to collaborate on projects under a renowned company such as Technicolor is a great achievement. Technicolor is an organization with a quality standard in which its clients trust the brand, its expertise and its signature. Being a part of the team allows me to perfect my art and exceed the clients' expectations. I feel grateful in Technicolor’s trust in me.

What do you like the most about working as a sound mixer?

Collaborating with directors who share their passions with me is the energizing part of my work. Participating in the artistic decisions of their projects is a rewarding experience. Technically, there are constantly new methods to use that help to tell the story.  Artistically, a good sound mixer needs to know how to highlight the emotion created by sound and how it can improve the  depth of a movie. The technical aspect is considered a tool that we have to master  to refine the storytelling.

What do you need to be a good sound mixer?

A good sound mixer needs to go outside of the box and shouldn’t just focus on the technique. He or she will need to listen and respect the film and its creators. Each person has their own description and vision of sound, it’s very emotional. You need to understand exactly what the director wants in their words. Another important element is the technical limits that we need to set. Time management is also a necessity.

What is the most memorable project you were involved with?

My last project: Malgré la Nuit by Philippe Grandrieux. This production has allowed me to challenge myself on so many levels. I had to be efficient and a good listener. This collaboration was very stimulating and one of the best experiences with a director.

Are there any movie genres that impress you from a sound perspective?

I particularly appreciate the sound in animation movies because everything is out of the ordinary and blown out of proportion. A sound mixer can extend their expertise to the limit. Action movies can also highlight the complete power of sound. A film in which silence is used wisely can also be powerful.

If you weren’t a sound mixer, what would be?

I would have liked to be a surgeon. I also enjoy manual labor such as landscaping and construction.  Building an environment-friendly home would be a fascinating project.



Collaborating on La Guerre des Tuques (Snowtime!), a film directed by Jean-François Pouliot and François Brisson has been an extraordinary experience for the whole team at Technicolor Montreal. Technicolor provided complete post services for the 3D version of the Quebec classic film including conform, final colour finishing, voice recording, foley, sound mix, sound editing, dialog editing, versioning and deliverables.

After exceeding $2.5 million at the Quebec box office in its first month, the animated feature film will now be distributed in the United States by multiplatform distributor Shout! Factory. The film will also premiere at the Sundance Film Festival in January in the Sundance Kids category. Snowtime! will feature the voices of Golden Globe winner Sandra Oh (Greys’ Anatomy), Angela Gallupo (Being Human), Lucinda Davis (Winx Club) and Ross Lynch (Austin & Ally).

The outstanding images of La Guerre des tuques 3D created by CarpeDiem Film & TV’s artistic team and the animation studio Singing Frog were highlighted by Technicolor’s colourist Richard Lessard who has worked closely with director Jean-François Pouliot.“To create the desired look, we had to establish uniformity between different types of winter environments and weather created by the animation team, such as the subtle differences between shades of fog and snow for instance”, reveals the colourist.

Technicolor, renowned for its sound mixing team, provided complete sound post services for the film as well. “The animated environment had to feel as real as possible so it could replicate the same feeling as the traditional movie featuring all the different types of winter environments. For the voices and the music, it was important to create a balance between the desired moods,” says Stéphane Bergeron, sound mixer at Technicolor. Marie-Claude Beauchamp, producer of the animated feature acknowledges Technicolor’s expertise on every detail, “an outstanding artistic accomplishment has been created by Technicolor’s sound team, we can even hear the snow fall… it’s a dream!”

La Guerre des tuques 3D is the second large scale animation project Technicolor Montreal has completed this year, the first being The Little Prince. Technicolor has developed an undeniable expertise in post for animated features, including 3D. Many animated features are scheduled for the upcoming year at Technicolor for post services.

La Guerre des Tuques 3D is produced by Carpe Diem Film & TV, distributed by Les films Séville and the animation is created by Singing Frog studios.


Technicolor Montreal is proud to have provided post services for the first Crackle original series, The Art of More, including dailies, conform, final colour finishing, packaging and all deliverables in 4K. Now available on the streaming service Crackle, The Art of More is a 10 episodes thriller series set in the high-stakes world of New York’s most glamorous auction houses. Created by Chuck Rose (Almost Dangerous, Steps) and Gardner Stern (NYPD Blue, Law and Order). The show features Dennis Quaid, Kate Bosworth, Christian Cooke, Cary Elwes and Patrick Sabongui.

Technicolor Montreal’s, Anne Boyle contributed to the slick, boldly colourful and sophisticated look of the show. “Both cinematographer's Theo van de Sande and Pierre Jodoin are very talented.  I had been lucky enough to work with Pierre on a previous show, so I knew the work would be of an incredibly high standard. His shooting style feels more like film than broadcast, more edgy and modern than typical,” reveals the colourist. Anne also highlights the team’s collaboration on the project, “Project manager Catherine Saint-Hilaire, online editor François Massé and myself really pulled together to design, develop and deliver a cutting edge workflow for this show. An ACES colour pipeline from dailies to final colour and a 4K delivery with all episodes available for streaming.” According to Anne, working as a colourist on The Art of More was a rewarding and artistic experience, “An episode usually begins with a flashback which showcases an artifact featured in the episode. These sections of the show were given a variety of period type treatments to contrast with the modern mood and slicker look of the rest of the show. We allowed time for skin retouch and beauty work which is always really fun to do.”

Pierre Jodoin, cinematographer of The Art of More highlights Technicolor’s expertise, “Technicolor is renowned for their efficiency and handling of 4K workflows”, says Jodoin. The cinematographer has previously worked with Anne Boyle on the second season of Helix and acknowledges Anne’s outstanding talent, “Anne Boyle is the best kept secret in town.”

The Art of More has exceeded 2 million viewers and has been renewed for a second season. Crackle has ordered 10 hour long episodes and will begin shooting in early 2016 in Montreal.