The film industry is home to an army of specialty craftspeople and technicians, each working in distinct specialized niche disciplines. These widely varying duties abound in the post-production field and while many seem almost esoteric in their limited scope, some actually have a critical impact on the finished films emotional appeal and ability to directly reach an audience.

Chinese born Editor/Colorist Liang Xia is a prime example of this. His is a uniquely demanding position, one that requires a masterful sense of nuance and subtlety, balancing the aesthetics’ which a production’s setting and style requires while subtly enhancing the film’s overall mood and emotional appeal. Xia achieves this with a both comprehensive attention to minute detail and an overarching perspective on the sweep of the entire film.

“There are three different things that a colorist does,” Xia said. “First, I adjust the exposures of the footage. A lot of things, such as lighting issues, weather, location and cause the cinematographer to get incorrect exposures. In most films, there will be several shots under or over exposed and colorists fix those issues in post-production, making sure each shot is the correct exposure and matches other shots.”

“Second, Colorists need to correct unnatural colors or unwanted colors. Sometimes, color temperature of the lighting is not accurate, or if the camera setting isn’t right, the color in footage will not be correct. Even when every setting is right, the camera sensor will receive more light and colors than we can see, and there will be some unwanted colors, or the contrast will change. Colorists fix all these problems during the process of color correction. And after this process, the color will become very accurate and satisfying to audience.”

The third aspect of the colorist’s job is the most important, and also where Xia excels.

“Color can also express emotion,” he said. “As we know, red means passion or blood, blue means cold or peace. Colorists can also use color theories to emphasize emotions in scenes, chapters or even whole films. A subtle change of color tone is not very obvious to audiences, but when they watch the film and see the color, they will have a natural, almost subconscious reaction to the color tone. In this way, a colorist enhances the film, allows it to further express subtexts and emotions.”

His work on the recent feature film Strawman exemplifies Xia’s perfected mix of vision and expression. A gritty look at a youth forced into a life of petty crime to support his siblings after their parents abandon them, Xia’s atmospheric approach and attention to detail further burnished director Tian Xie’s impactful drama.

Xia is driven by a fascination with the human condition and the inescapable drama of common life. It’s a combination of sensitivity, aesthetics and technique striking an unusual balance between meticulous technical precision and broad emotional strokes. For Xia it’s almost therapeutic and this unusual artistic perspective enhances every project undertaken and has, in a few short years distinguished him as a professional force to be reckoned with.

“Strawman was the first time I worked with Liang,” director Tian Xie said. “Besides his editing concepts and skill, Liang has very good vision and a feeling for color, so his color correction is excellent. Liang had a five-year experience in studying paintings, including traditional Chinese painting and watercolor. I think that’s an important reason for his excellent sense on color. When we worked on Strawman, I told him the story takes place in summer, a hot summer. Liang did some adjustments on his color panel and created an ideal overall look, immediately. That color tone was what exactly I want, and I said, ‘that is the one.’”

Xia’s lifelong affinity for both art and film created the perfect combination for his profession. “I’ve loved film since my childhood,” he said. ”After high school, I studied TV and film directing in college. After I came to U.S. to study film, I found my logic and patience gave me a strong advantage and decided to work on editing. Then, during my post-production study, I found I am sensitive to color, so I started to study color theories on my own and also took some class about film color grading.”

And it’s working. Strawman took Best Foreign Feature at 2016 Los Angeles Independent Film Festival and Best Feature Film Diamond for director and editor at the 2017 NYC Indie Film Awards, and led to an on-going collaboration with he and director Tian Xie, most recently on the short Promise. In fact, Strawman and Promise each won a Gold Remi Award at 50th WorldFest-Houston International Film Festival. Additionally Strawman officially selected in the 19th San Francisco Indie Film Festival, the 6^th Richmond International Film Festival and 23rd New Jersey Film Festival.

“I love editing and doing color,” Xia said. “My goal is to keep working on indie films. In my opinion, indie films more focus on humanities and society. I want to have more chances to edit more indie films. It not only provides me editing or color jobs, but also makes me connect to the real world.”

*I like dramas that focus on people who are often ignored or marginalized by society, and these give me the chance to using my post-production skills to build complete characters—and to build a complete me.”