The Black Kite Studios colour producer on his love of street photography, buying Fontaines D.C. for his Dad and why he's feeling positive about the year ahead - including Black Kite's chances in the VFX football league.

After a successful first year producing for three of the top colourist talents in London, Jamie McCubbin is looking forward to a busy 2025 for Black Kite Studios' colour department.

Having previously worked as a VFX producer at Glassworks in Amsterdam, and before that at Okay Studio, Jamie joined Black Kite in late 2023 as colour producer for three of the most experienced, respected and in-demand colourists in London - George K, Rich Fearon and Tom Mangham.

In the past 12 months he has colour-produced a number of music videos - including for Cat Burns, Self-Esteem, Tourist and Mura Masa - as well as numerous commercials. His crucial contribution to the Black Kite colour team's creative output was underlined by him taking an equally important role in the company football team - as goalkeeper.

As we found out when we quizzed Jamie - courtesy of the first Snapshot Q&A of the year - he also has an exciting year ahead with his side project, as part of a filmmaking collective. And he's looking forward to "Manchester's own Woodstock". 

Name: Jamie McCubbin

Birthday: 18.07.89

Where did you grow up? Merseyside, Liverpool

Place of further education and course (if any)? Manchester Met – studied Advertising

Where do you live now? South London massive

A grade can transform something in a very short space of time.

Name a film or video or other creative work that had a huge influence on your career choice?

I’m into street photography and spend time around the city taking photos of things. London always has something interesting to shoot and there’s literally drama on every corner. William Eggleston is a hero and I finally got my hands on some of his photobooks showcasing his glorious 35mm colour work.

Photographers like Eggleston have influenced how I see visual media which has allowed me to feel so passionate about colour grading and picture post. The more photobooks I can get my hands on the better. Garry Winogrand, Martin Parr, Nan Goldin... the list is endless.

What were the important first projects for you, in terms of a learning experience and getting noticed, or a foothold in the industry?

On my first day as an intern in post [at Okay Studio] I had the opportunity to sit in a grade suite. I sat at the back on a nice sofa listening to the DP and colourist discuss their project and talk shop. I began to understand how fundamental colour is to the end result of a project and my appreciation grew early on.

I think a grade can completely transform something in a very short space of time and as a producer I’ve been lucky to be a part that process since starting out.

Best film(s) you saw last year?

I’ve realised I’m much more of a film person rather than TV series person, so I try to watch as many films as I can. An old friend Rich Peppiatt directed Kneecap last year which is up for a BAFTA! Another UK film I loved was Aftersun by Charlotte Wells.

For a big blockbuster, I thought Barbie was an absolute riot! It made me laugh out loud and looked the part both production design and grade.

Favourite song/album/music artist in the past year?

My daily tube commute consists of an album in the morning and a podcast in the evening. I listened a lot to the latest Mount Kimbie album The Sunset Violent for something a bit calm. When I wanted more of a foot stomp to get the day going I listened to the new Fontaines DC album. I bought my Dad that on vinyl for his record collection with the sole intention to inherit it back!

Involving the colourists in pre-production is a great way to collaborate.

Favourite music video/videos in the past year?

Really enjoyed Luna Carmoon’s promo for Fontaines DC's Here’s The Thing – a great mix of narrative storytelling within a music video. The best music videos are short stories in a condensed form and this one really stood out for me when I saw it. I caught Luna’s debut feature Hoard via BBC Film, which showcases her talent as a strong British voice.

I liked rubberband.’s video for Bakar's Alive! too. A super-simple idea with its off-the-the-wall naturalistic vibe holding up Piccadilly Circus - radical! DP Patrick Golan did an awesome job with a mix of long lenses and handheld which worked really well with the music track.

What was (or usually is) your favourite night out last year? Down the pub with friends and a pocket of pound coins for the pool table.

In terms of the music video-related jobs of the past year or so, what were the most rewarding creatively, and why?

We have a supremely talented team of colourists at Black Kite - George K, Rich Fearon and Tom Mangham, who are all a pleasure to work alongside.

Last year Rich graded with the wonderful Ivana Bobic from Riff Raff on a video for Future Islands' The Thief. The video was a dance film with a colour palette based on the album’s cover artwork and we worked with DP Nanu Segal and Ivana to develop a LUT for the shoot.

Involving the colourists as early on as pre-production is a great way to collaborate and spark an interest so I’m always keen for opening that dialogue up at the very beginning of a project. The video turned out super nice and just as we hoped.

We value music videos as a creative outlet and they tend to have the most ambitious visual grade briefs.

What are your favourite other (non-mv) projects of the past year or so?

The standout project of last year for me was KFC – Believe In Chicken directed by Vedran Rupic at Business Club via Mother, which Black Kite did all VFX / Online along with grade by our very own Tom Mangham. The creative was cool, ambitious, and shone through from shoot to delivery.

I remember seeing an initial edit and thinking it was a scene pulled directly from a feature film with a hypnotic soundtrack and great choreography. I knew it would be a great spot to grade and Tom did an incredible job bringing it to life with a strong 35mm print look. I’ve caught it regularly on TV and in the cinema and it’s always a joy to watch.

What’s the most surprising thing that’s happened last year?

Some friends and I run a small collective making short films on the side. Producing shorts on my own from shoot to delivery can be stressful but really fun.

On the back of this, we landed a funding grant via the BFI which was a great surprise! Receiving a chunk of money and EP support from the BFI team to make a short film was amazing, so we were chuffed to get the funding and make something fun.

Most annoying/irksome thing that’s been going on this year (work-related or otherwise)?

I play goalkeeper for Black Kite’s team as part of the VFX football league. It’s a blast playing with a bunch of other post houses each week. We were pipped to last year’s league title, so we're going for the gold in 2025 with the season starting this month!

Above: Jamie (middle of back row, in yellow) with teammates in Black Kite Studios football team

We were pipped to last year’s league title, so we're going for the gold in 2025!

Your top suggestion to change and improve how the music video industry works?

I’d always encourage young and upcoming directors to be bold in their choices to seek out creatives who they feel can bring something special to their project, regardless of the boundaries music videos can have with budget, schedule, etc.

On the grade side, we value music videos as a creative outlet and they tend to have the most ambitious visual grade briefs. Music videos are a collaborative effort and rely on everyone involved to give their full energy and attention. We should always celebrate the music video world and what it offers creatively to Directors and DP’s as well as editors and colourists on the post side.

What are you looking forward to for 2025?

To quote the footballing term ‘Bouncebackability’ – I think the year ahead will be a positive one for our industry all round, which has been in an ever-changing flux since these past few years since Covid and even the writer’s strikes.

For me personally, I landed tickets for Oasis at Heaton Park in July. I'm fully expecting a frenzy will hit the UK this summer – Manchester’s very own Woodstock.

• Jamie McCubbin is a colour producer at Black Kite Studios in London; email Jamie for more information about the Black Kite colourists at jamie.mccubbin@blackkitestudios.com