Sandra Klass is an internationally renowned colourist whose career has taken her from Singapore to Denmark, and across Europe, Asia, and Latin America. Known for her deeply intuitive, story-first approach to colour, she shapes the emotional tone of films and series across genres, and has collaborated with acclaimed directors along the way.
She’s worked alongside some of the most influential filmmakers in contemporary cinema, including Lars von Trier (Nvmohomaniac: Vol. I & II and The House That Jack Built) and Ruben Ostlund (The Square, Palme d’Or winner at Cannes 2017, and Force Majeure). Her work also includes the original Danish series The Killing (2007); The Untamed (2016), winner of the Silver Lion for Best Direction at the Venice Film Festival; Compartment No. 6 (2021),Grand Prix winner at the main competition of the2021 Cannes Film Festival; and The Breaking Ice (2023), Un Certain Regard selection of the 2023 Cannes Film Festival.
Recently, she joined WeMakeColor, a representation agency and boutique post house with studios in Mexico City and Bogotá, Colombia, specialising in colour grading, look development, finishing, and post supervision. Representing Klass across the U.S. and Latin America, WeMakeColor connects her with a global network of colourists while expanding her reach across an increasingly international slate of projects.
Discovering the grading room
Klass’s path into colour grading was very much unintentional. “I never intended to become a colourist,” she says. “Growing up in Singapore, I spent some of my formative years making films with my brother using a VHS camera. We often fantasised about making movies together and, at a time when formal film education wasn’t readily available, we decided that the best way forward was to learn through practical experience.”
So after school, while her brother moved into production, Klass discovered her place in post-production, learning the basic skills of filmmaking. “I dedicated my time to learning as much as possible after hours,” recalls Klass. “Even though I was initially reluctant to engage in colour grading, the house colourist fell ill one day and, with a significant amount of work to be done, I stepped in to handle some of the simpler tasks. I graded a brief promotional video for Red Bull, which was filmed by my boss, who also owned the post-production house. At that point, I had only familiarised myself with the grading tools by observing the house colourist, I was unaware that the human eye constantly adjusts for white balance. Consequently, when the spot aired, the hands appeared green and the Red Bull looked orange. My boss appreciated my initiative and enthusiasm, and before I knew it, I had become a junior colourist in training.”
Finding a language in colour
What followed wasn’t a straight path, but a gradual realisation. After exploring other areas of filmmaking, Klass found herself returning to colour grading, only this time with a clearer sense of purpose. “I realised the importance of colour for the storytelling process,” explains Klass. “This involves, among other things, conveying emotion, and I believe I possess a natural and emotional talent for it.”
That instinct has since become central to her work. Rather than approaching colour as a purely technical process, Klass sees it as a form of translation – bridging the creative and the practical. For Klass, colour grading is less about imposing a look and more about uncovering one.
“I find that DoPs are generally more technical and directors on the other hand describe colour in a more emotional way,” says Klass. “Over time, I found that my ability to discuss colour developed into a comfortable and natural space for me.”
“It always starts with conversation,” she adds. “Understanding what the director and cinematographer want, and sometimes what they don’t want. Then it’s about experimenting – trying things out and then reviewing through scenes to see what feels right.”
There’s a moment she looks for in every project. “I always know when we finally find the look, because everyone in the room agrees.”
Klass’ sensitivity to tone means she’s equally comfortable working with bold, expressive palettes or subtle, almost invisible shifts. “Sometimes colour could transform a film so boldly – making it surreal, pushing it into another genre even,” she says, referencing the lasting impression of films like Paris, Texas and Chunking Express. “And sometimes it’s the smallest of adjustments, like cooling the blacks just slightly, which creates tension. You don’t notice it, but you feel it.”
A collaborative craft
Despite her influence on the final image, Klass is clear about her role in the process. “This is not my film,” she says simply. “My job is to realise the vision of the director and DoP, elevate the project aesthetically, convey the appropriate tone for the narrative and ensure technical accuracy.”
That mindset underpins her approach to collaboration – whether working with emerging filmmakers or established names, she’s experienced a range of creative dynamics, but her goal always remains consistent: elevate, not override. “If they come with a strong vision, I love that,” says Klass. “I believe every colourist possesses a distinctive style of their own, so it becomes a true collaboration of the colourist’s individual style and the clients vision. And, should I propose an idea that strays from this vision, I don’t take it personally if it is turned down.”
For Klass, a successful collaboration with a DoP is deeply personal. “Sometimes at the end of the project it feels like saying goodbye to a platonic love affair,” she explains. “We spend weeks in the dark room together, in close collaboration, it can be really sweet and intense.”
A global perspective on colour
Klass began her career in Singapore and has since lived and worked in Bangkok, Johannesburg, Moscow, Hamburg, Oslo and Copenhagen, building a truly international career – with each region shaping her approach in different ways. “In Scandinavia, things have traditionally been more subtle -–less colour, noir, very intentional and stylised,” she explains. “Whereas in Latin America, the grades tend to be warmer and vibrant, and there’s often more openness to experimentation too.”
That contrast has pushed her creatively. “I believe I have broadened my limits that were typically confined by cultural styles across different countries. For example incorporating a noir element into Latin American projects as seen in Las Muertas.”
This global outlook is part of what drew her to WeMakeColor, the collective that represents a global roster of high-end colourists, connecting them with productions worldwide – founded by lead colourist Felipe Martínez U. “Felipe was a big part of my decision to join WeMakeColor,” she says. “There was something very honest about how we connected and his technical skills and approach motivated me to join. I also love being part of a group of like minded colourists that could potentially open the door to many conversations and new ideas.”
One Hundred Years of Solitude: Part Two
Klass is currently grading One Hundred Years of Solitude (Part Two), set to premiere on Netflix this August. It was on this project that she first met colourist Felipe Martínez U., who was the post supervisor and colour supervisor, collaborating closely with him on the technical processes as well as creatively. “Being part of this adaptation is a dream come true,” says Klass. “Laura Mora Ortega, the director and show runner envisioned a raw, immersive aesthetic – warm, humid, and vibrant.”
Klass focused on emphasising the warm rich tones of the Caribbean alongside the deep, lush green foliage in the exterior scenes while balancing candlelight and electrical lighting to create a natural, intimate atmosphere for the interior scenes. The warm rich tones, contrast and highlights effectively convey to the audience the heat, humidity, and tactile feel of the Caribbean environment. “We needed to ensure that the candles appeared authentic, since they naturally produce minimal light,” adds Klass. “We had to find a way to keep the backgrounds dark while still providing sufficient light for the actors. That was a challenge, with extensive masking and fine-tuning required to separate the talent from the background and manage the effects of each different light source within the space.”
Pride in her craft: Las Muertas
Klass cites her recent work on the TV series Las Muertas (2025) as one of her more recent projects that she is proud of. “Working together with the DoP Anaya Adalid and the acclaimed director Luis Estrada, we found a dark and rich look that enhanced the true crime story, with a focus on amber and monochromatic tones that evoke classic films. The result is a grade that I feel works for the genre, stays true to Luis Estrada’s distinctive aesthetic, and – for me – feels amazing. I’m really proud of it.”
Craft, instinct, and evolving practice
While tools and workflows continue to evolve, Klass remains grounded in instinct. And, if she’s brought onto a project early enough, her process often begins long before the grading suite. “I love getting involved as early as possible,” says Klass. “It means I can start contemplating immediately – looking for references and formulating ideas in my head. By the time we reach the grading stage, I feel that I have done some relevant mental preparation that helps me immerse myself into the project effortlessly.”
Inspiration beyond the screen
Interestingly, some of Klass’s most recent creative breakthroughs haven’t come from film at all, they’ve come through hobbies. “I have recently taken up woodworking,” she says. “After finishing a building project, when I returned to the grading suite, it felt as if I had rewired my brain because I was approaching my work in a new way.”
Exploring design, form, and material in a physical space has transformed her perspective on her digital work. “It has altered everything – not only colour grading, but my overall thought process. I think it’s really important to have various outlets and different avenues for creativity.”
Looking ahead
Now represented by WeMakeColor, Klass continues to collaborate on projects internationally, with a growing presence across the U.S. and Latin America. With multiple feature films and series in progress across Colombia, Mexico, and beyond, she shows no signs of slowing down. But for her, the motivation remains the same as it was at the start: emotion. “Adding emotion to the work I do is crucial for me,” she says. “I believe that is my greatest strength – and I think other people recognise that too.”
As Roger Deakins said: ‘You’re not just grading the image, you’re grading the feeling.’ This truly resonates with me,” concludes Klass.
