YOV MOOR
Yov Moor is a senior colorist who collaborates with directors, cinematographers, and producers worldwide. His primary motivation is to support and enhance the vision of the director, cinematographer, and producer through the color grading process, contributing to the film’s visual language.
Throughout his career, Yov has worked with numerous acclaimed directors, including Tran Anh Hung, Pema Tseden, Kiyoshi Kurosawa, Phuttiphong Aroonpheng, Audrey Diwan, Midi Z, Jero Yun, Wang Bing, Phan Đăng Di, Ming-liang Tsai, Tao Zhang, Heng Yang, Cédric Khan, Dominik Moll, João Pedro Rodrigues, K Rajagopal, Emmanuel Finkiel, Gilles Bourdos, Deniz Gamze Ergüven, Damien Manivel, Alessandro Comodin, and Diep Hoang Nguyen.
He has also collaborated with talented cinematographers like Ping Bin Lee, Rui Poças, Songye Lu, Josée Deshaies, Jonathan Ricquebourg, Laurent Tanguy, Thierry Arbogast, Alexis Kavyrchine, Antoine Héberlé, André Turpin, and Patrick Ghiringhelli, among many others.
Yov’s work encompasses feature films, documentaries, art films, and shorts, many of which have been featured at prestigious festivals such as Cannes, Venice, the Oscars, Golden Globes, Berlin, Sundance, and the Golden Horse Film Festival.
In 2024, Yov had four films at Cannes and ten films selected for Cannes in 2023.
Yov Moor brings extensive experience and expertise to every project, using the language of cinema to capture the unique style and perspective of each film.
You are a judge for the 2024 FilmLight Colour Awards. What are you looking for in entries this year?
I’m thrilled to be a part of this year’s FilmLight Colour Awards. In my daily work, I look forward to discovering the unique approaches of directors, DoPs, and colourists, and fully immersing myself in their creations, with a keen focus on achieving the perfect final colour.
You had four films selected this year at Cannes Film Festival and 10 films selected in 2023. How do you usually pick the films that you grade?
People often ask about my involvement in projects, and most of the time, it comes through directors, cinematographers, producers, and occasionally DI labs.
As for films selected for Cannes, it’s often a combination of luck on my side and the immense talent of the directors.
You have a strong relationship with Asian directors and DoPs. Would you say that your clients’ requests in Asia vs Europe are different in terms of colours?
It’s a tough question and simple too because there’s an increasing cross-pollination of ideas between Europe and Asia.
In Europe, I often sense a cultural restraint or sense of realism in visual storytelling, where images sometimes feel more like a support to the scene.
In contrast, in China, the visual texture, contrast, and colour are integral to conveying emotion. This difference is less pronounced in mainstream or commercial films compared to art house films. However, it’s important to note that this isn’t universally true, as each film is unique.
In countries like Japan, Vietnam, Thailand, Cambodia, India, France, Germany, and the UK, cultural differences and similarities make the answer as complex as the human spirit.
I am inspired by young creators worldwide who push the boundaries of colour and emotion. I love seeing new perspectives that invigorate my own creativity. In my position as a freelance colourist, all of these experiences enrich me greatly, and I bring this wealth of knowledge to new film projects, sharing these insights with directors and DoPs.
What’s your career highlight to date and why?
For me, it’s about collaborating with new directors and DoPs to bring their film visions to life through colour. I’m thrilled to take on these challenges with them, and that alone makes me happy and proud. I believe in viewing my career as a constant rebirth, always seeking new highlights.
How do you prefer to work with the DoP on colour?
I have no preference in this regard because each project has its own unique aura, groove, workflow, and story that establishes its own rules for work. I adapt to and follow each project’s individual dogma. It’s all fine by me!
What are the key challenges of your role as colourist?
My main challenge is to understand the desires, words, and feelings expressed by the director and DoP, and to translate them into the visual language of colour. Technically, I continually assimilate new discoveries and ensure they are accessible for the film’s needs without any barriers. My goal is to be as creative as possible for everyone involved.
What are you working on now?
My current work is on a feature film titled RAVEN, about the photographer Masahisa Fukase, played by actor Tadanobu Asano. The film is directed by UK director Mark Gill and shot by DoP Fernando Ruiz with great talent in Japan. They have done an astounding job on the story, imagery, and editing, and I’m excited for the film to be seen!