Category Archives: Cinematography

Oscar-winner Jordan Peele on directing Get Out

By Iain Blair

Get Out, the feature film debut of comedian-turned-director Jordan Peele, is chock full of shocks and surprises. This multi-layered horror film also shocked a lot of people in the industry when it went on to gross over a quarter of a billion dollars — on a $4.5 million budget — making it one of the most profitable films in Hollywood history. But those shocks are nothing compared to the ones Peele and his movie generated when it scooped up four major Oscar nominations, including Best Picture and Best Director (in a very strong Best Director year, Peele beat out the likes of Steven Spielberg, Ridley Scott and Martin McDonagh). He won for Best Original Screenplay.

The writer/director honed his cinematic skills on the Comedy Central sketch show Key and Peele, which quickly became a television and Internet sensation, earning 12 Primetime Emmy Award nominations and over 900 million online hits. For his first film, which stars Daniel Kaluuya, Allison Williams, Catherine Keener and Bradley Whitford, he assembled a stellar group of collaborators, including director of photography Toby Oliver (Insidious: Chapter 4), production designer Rusty Smith (Meet the Fockers), editor Gregory Plotkin (the Paranormal Activity series), costume designer Nadine Haders (Into the Badlands) and composer Michael Abels.

With the huge critical and commercial success of Get Out, Peele has now joined the big leagues. I recently caught up with Peele who talked about the Oscars, making the film, and his love of post.

This is your directorial movie debut, and it’s not only Oscar-nominated for Best Picture but also for Best Director. Are you still pinching yourself?
Oh yeah, 100 percent! It’s not something I feel I’ll ever get used to. It’s way beyond any expectations I had.

You were also Oscar-nominated for Best Original Screenplay, making you only the third person ever — after Warren Beatty and James L. Books — to score that and Best Director, Best Picture nods for your debut film. You realize it’s all downhill from here?
(Laughs) Yeah, I might as well quit making movies now while I’m still ahead, because I’m in big trouble. And that’s pretty ironic as the best award and reward for making my first movie is the fact that I get to make another.

You’re only the fifth African-American filmmaker to earn a Best Director nom and none have won. Is change coming fast enough?
I think change should have come a long time ago, but at least now we see some real progress, with such directors as Ryan Coogler, Ava DuVernay, Gary Gray, Barry Jenkins and Dee Rees. It’s this new class of amazing black directors, and people have worked very hard to get to this point, and it’s thanks to all the work of previous filmmakers. What’s blossoming in the industry now is very beautiful, so I’m very hopeful for the future.

When it comes to the Oscars, horror and comedy are two genres that don’t seem to get much respect. Why do you think that is?
I think it’s because they’re genres that are typically focused on getting a monetary return, so they get put in that box and are seen as lightweight and movies that are not art — even though there are many examples of elevated horror and elevated comedy that are extremely artistic films. So there’s that stigma. And if people don’t like horror, they just don’t like it, so it’s not a genre that you can expect everyone to want to see, unlike comedy. Everyone pretty much loves comedy, but when people tell me they don’t like horror, I tell them to seek it out, that it won’t scare them that much, and that it might surprise them.

Did you write this thinking, “I want to direct it too?”No, I never planned to direct it, but then about half-way through writing it I realized I was the only person who could actually direct it. I feel that being both the writer and director is easier than not doing both, because they’re done at separate times, so you don’t have to overlap, and then later if you want to change something on set, you know that you’re not missing or mistaking what the writer intended.

What sort of film did you set out to make, because it’s not just a straightforward horror film, is it?
No. I wanted to make a film I’d never seen before. It’s been called many things, and I myself have called it both a horror film and a social thriller. I was aiming at the genre somewhere between Rosemary’s Baby and Scream, so it’s about a lot of things — the way America deals with race and the idea that racism itself is a monster, and that we can’t neglect abuses and just stand by while atrocities happen. So I tried to incorporate a lot of layers and make something people would want to see more than once.

How did you prepare for directing your first film? It’s got to be pretty daunting.
It’s actually terrifying since you don’t know what you don’t know. I talked to everyone I could — Edgar Wright, Ben Affleck, Leigh Whannell, Peter Atencio who did our show and Keanu, and any other director I could — to try and prepare as much as possible.

How was the shoot?
We shot in Mobile, Alabama, and it was probably the most fun I’ve ever had working on anything. It was so hard and so intense. I was very prepared, but then you also have to be open to adapting and making changes, and too much preparation can work against you if you’re not careful.

Do you like the post process?
I absolutely loved it, and one big reason is because after so long just imagining what the film might look like, all of a sudden you have all the pieces of the puzzle in front of you, and you’re finally making the film. Post teaches you so much about what the film is meant to be and what it wants to be.

Where did you edit and post this?
At Blumhouse in LA.

Tell us about working with editor Gregory Plotkin, who cut most of the Paranormal Activity franchise for Paramount and Blumhouse Productions.
He’s a very accomplished editor and a real horror fan like me, so we bonded immediately over that. He could break down the script and all my influences from Hitchcock and Kubrick to Spielberg and Jonathan Demme. He did his pass and then I came in and did my director’s pass, and then we went over it all with a fine-tooth comb, tightening scenes up and so on and focusing on pace and timing, which are crucial in horror and comedy.

Is it true you shot multiple endings for the film? How did you decide on the right one?
We actually shot two, and the first one was not a happy one. When we edited it all together we realized it wasn’t working for an audience. They thought it was a downer, and then I realized it needed a hero and a happy ending instead, so that after going through all the stress, the audience could come out happy. So we asked for more money and went off and did a reshoot of the ending, which added another layer and worked far better.

Sound and music are so important in horror. Can you talk about that?
I look at it as at least half the movie since you can scare audiences so much with just clever sound design. I paid a lot of attention to it during the writing process, and then once we got into post it all became a very meticulous process. We were careful not to overdo all the sound design. We did it all at Wildfire, and they are such pros and were up for trying anything. They really understood my vision.

Can you talk about the VFX?
Ingenuity Studios did them and the big one was creating “The Sunken Place,” and it was tricky to do it as we didn’t have a bearing on this world apart from what I’d originally imagined. There was no up or down. Should the camera be fixed or floating? In the end, we shot Daniel Kaluuya against a black background on cables, and then Gregory played around in the Avid a lot, resizing the image. Then we added some CG stuff to give it that sort of underwater feel. We had a bunch of other shots, like the car hitting the deer and the father being impaled on the deer horns, which was all CGI.

Who was the colorist, and where did you do the DI?
It was all at Blumhouse, with Aidan Stanford, and I was pretty involved. It was tricky, and you can quickly go overboard with color, but the DP, Toby, did such a great job on the shoot that we mainly just tried to match his original color and not push it too far.

I assume you can’t wait to direct again?
Oh yeah! There’s nothing more fun. It’s the biggest artistic collaboration I can imagine, with all these moving parts, and I loved every minute of it.

What’s next?
I’m working on another screenplay, which I’ll direct for Universal. I just love Hitchcockian thrillers, so I’m staying in the same genre and zone.


Industry insider Iain Blair has been interviewing the biggest directors in Hollywood and around the world for years. He is a regular contributor to Variety and has written for such outlets as Reuters, The Chicago Tribune, The Los Angeles Times and the Boston Globe.

The Beguiled’s DP and colorist discuss the film’s painterly look

Sofia Coppola’s The Beguiled, which took the best director prize at the 2017 Cannes Film Festival, is set in Virginia in the summer of 1864 and features a wounded and deserting Union soldier, played by Colin Farrell, taking refuge among the staff and students of a girl’s boarding school, among them Nicole Kidman and Kirsten Dunst.

Coppola was keen to heighten the drama by constraining the atmosphere, emphasizing the heat and humidity and by creating a very painterly sensibility. To help her, she recruited French cinematographer Philippe Le Sourd, who in turn brought colorist Damien Van Der Cruyssen. The two had first worked together at Mikros Images in Paris. Van Der Cruyssen is now colorist and director of DI at The Mill New York. (Check out our interview with the director about making the film.)

An early decision was that the movie would be shot on 35mm film, maximizing the use of celluloid with a 1.66:1 aspect ratio. The workflow was interesting — the film was shot in New Orleans and processed by Fotokem in Los Angeles with the digital rushes then having to cross the country for finishing in New York.
.
“On 35mm the lights melt together,” explains DP Le Sourd. “We were able to get a look closer to sfumato from Renaissance painting and the pictorialist photographers like Edward Steichen.

“The 1.66 format helped to capture the loneliness and imprisonment of the women’s monastic life during the Civil War,” he adds. “In a medium shot, the camera could only focus on the gestures and body language, not the set or the landscape. The format captured the intimacy of the women’s gaze and perspective.”

The look of the film was set when director Coppola and her production designer, Anne Ross, researched the period. Le Sourd then joined them to discuss the characters and how they would be reflected in the imagery.

“The exteriors were shot at very specific times of the day,” Le Sourd recalls. “We shot at dusk and sunset to amplify the sense of immediate danger, for example. “At the same time, I had to duplicate the oppressive tone for the interior daylight, and for the night interiors with candlelight. I tried to use as few lights as possible to really capture the most natural aspect of a scene. The challenge was to keep a consistent look without an obvious digital color correction, to keep the sense of the 35mm film grain.”

Le Sourd and colorist Van Der Cruyssen first met in the early 2000s, when the latter was a telecine assistant at Mikros Images working with Bertrand Duval, who graded the commercials Le Sourd was working on. When Van Der Cruyssen moved to New York in 2009 the pair hooked up on a Davidoff commercial, and established a regular partnership.

The team was completed in 2016 when Coppola was invited to direct a production of La Traviata in Rome. She asked Le Sourd to film it. He asked Van Der Cruyssen to grade it. When The Beguiled was planned, everyone was excited to get involved.

How did the decision to shoot on 35mm affect the finish? “It added two days of pre-coloring to balance out the scans,” according to Van Der Cruyssen. “There was a lot of inconsistency in the scans that needed adjustments before Philippe could walk in the room.

“But the benefits of shooting film were great for the overall texture and natural contrast that negative stock has,” he added. “There is a richness in the skin tone that is very difficult to replicate with digital formats. For The Beguiled, Sofia had complete trust in Philippe regarding the final color, and most of the DI was just with Philippe attending,” says Le Sourd. “Sofia came in a few times. She was very discrete, yet very attentive.

“She has an excellent eye and sense of visual direction. I especially remember one comment for a scene that gave the tone to our collaboration: she told me to put my ‘elegance’ filter on. I took that to mean bring down the contrast, keeping it soft, moody yet natural and, well, elegant.”

The DP and colorist were regular collaborators on commercials. Did this mean they had a flying start on the grade for The Beguiled? “Not really,” says Van Der Cruyssen. “In many ways, I’d say I had to unlearn everything I do in commercials. In beauty commercials we always strive for a shiny picture, whereas one of the goals in this movie was to create a look that was painterly and matte,” he explains. “The look was done in camera, so we used very few windows or keys. Philippe and Sofia wanted a natural light, so we tried to avoid as much as possible any digital manipulation. Most of my layers were film grade, video grade, curves and six vectors.”

Both spoke of influences by painters and early photographers like Steichen and Julia Margaret Cameron as key influences on the look. Specific lenses were made and used on set to create a bokeh like a Petzval lens. A lot of smoke was used to soften the atmosphere.

The DP was present for much of the finishing. Le Sourd says, “Color grading is a very interesting process to review your work, and most important to polish it.”

Damien Van Der Cruyssen

For Van Der Cruyssen, the biggest challenge “was to make the exterior and interior scenes all belong to the same sweaty southern confined atmosphere. The exteriors often felt bright and sunny and too distant from the softer and darker moodiness of the interiors. We had to make the two meet elegantly.

“We chose to have neutral nights rather than cool, to help transition with the very warm candle-lit scenes. This movie is all about low contrast, so we had to find the sweet spot,” he continues. “Toward the end of the movie is a morning scene in the kitchen that we spent a lot of time on. We tried different things but we were not satisfied. It was Sofia with her fresh eyes that helped us to go back in the right direction. We warmed the scene up to fit better with the surrounding sequences.”

The whole project used the FilmLight Truelight color management system to ensure consistency of imagery between viewings and between deliverables. Toward the end of post, the Baselight system was upgraded with FilmLight’s latest 5.0 release, which allowed Van Der Cruyssen to take advantage of the new DRT Family feature in 5.0. This feature ensures that Baselight automatically selects the most appropriate version of a DRT for the particular viewing condition. By switching to the Truelight CAM family — FilmLight’s default Colour Appearance Model — Baselight easily generated the four separate delivery masters: theatrical DCP, theatrical print, Rec.709 video and HDR video.

Cinna 4.13

Behind the Title: MTI Senior Colorist Trent Johnson

NAME: Trent Johnson

COMPANY: MTI Film

CAN YOU DESCRIBE YOUR COMPANY?
MTI Film works in multiple post production disciplines, including TV and feature post, film restoration and software development.

AS A SENIOR COLORIST, WHAT WOULD SURPRISE PEOPLE THE MOST ABOUT WHAT FALLS UNDER THAT TITLE?
In order to be excellent in this profession you have to be obsessive about the details, because it is in the composite of details that the whole mood and tempo of the show comes alive.

At this point in the post process, I may even become more passionate about certain aspects of the project than the clients. With years of experience under my belt, I have mastered many tricks of the trade that clients may or may not be aware of. I can see what needs to be corrected in lighting and color to make the director, cinematographer and producer’s vision for the piece become a reality.

It is my responsibility to make it right and I take this responsibility very seriously and down to the tiniest detail. For example, I can unify inconsistent shots, change the time of day, augment special effects that have to be married into practical photography, tint color to affect an emotional response from the audience and enhance the appearance of characters, to name a few. The addition of my creative input to the creative process – at the direction of the creative heads of a project – serves as the icing on the cake. It’s the final perfection of the product before it’s delivered and released.

WHAT SYSTEMS DO YOU WORK ON?
I am proficient on Nucoda, Resolve and Baselight.

ARE YOU SOMETIMES ASKED TO DO MORE THAN JUST COLOR ON PROJECTS? IF SO, CAN YOU DESCRIBE?
I take on light editorial tasks: compositing, speed changes, titling, etc. For a restoration project it could be sifting through various elements to choose the best quality.

The Emoji Movie

WHAT’S YOUR FAVORITE PART OF THE JOB?
I have lots of favorites. First is working with very talented creative clients who know what they want and how to communicate a vision. Sitting in a theatre with these creative giants, over a period of several days, an atmosphere of camaraderie develops. This has resulted in many wonderful working relationships.

Second, I love being given a challenge on a film or TV project and then being able to meet or exceed expectations. I have always said there are two kinds of people in this world: those who give you reasons why they can’t do something and those who give you reasons why something that seems impossible can be done. I like to be the guy that figures out how to make it happen for a client, even though it may be out of the wheelhouse of most color correctors.

Third, once I meet a challenge and succeed in enhancing the creative vision of the client to an unexpected level, I like reviewing what I colored and how it’s made everything come together according to the vision. I thoroughly enjoy looking at what I colored yesterday and liking it, not to mention witnessing my client’s satisfaction with the final product.

WHAT’S YOUR LEAST FAVORITE?
Rushing through the grade. I’m a perfectionist and like to refine a look until everyone in the room is pleased. I’m willing to put the time to get it right.

IF YOU DIDN’T HAVE THIS JOB, WHAT WOULD YOU BE DOING INSTEAD?
I edited as well as colored early in my career. I could have easily pursued editing, as I enjoy it quite a lot. I like focusing on performances and finding the magic moments in shots and scenes and piecing it all together to move the story forward. I bring these skills into the color bay every day and draw on them by using color to amplify and strengthen the storyline of the project I’m working on.

HOW EARLY ON DID YOU KNOW THIS WOULD BE YOUR PATH?
As a child I binge-watched TV shows and movies and developed a love of classic Hollywood. I can walk into a room and glance at a movie and usually know what the title is. My kids get a kick out of that. I have a bit of a photographic memory in that sense. This has come in handy because I not only remember the movie, but the color and lighting as well, and how it was used in that particular instance to create a mood.

As I grew into my teens, I decided to make that movie-watching time investment pay off. I bought a Super 8 camera in high school and began making movies with my friends. I’ve never looked back. I majored in film production at the collegiate level at USC and San Diego State University. I started my career at Complete Post in Hollywood, and the rest is history.

CAN YOU NAME SOME RECENT PROJECTS YOU HAVE WORKED ON?
I recently worked on Overboard for MGM, Proud Mary for Screen Gems and The Emoji Movie for Sony/Columbia.

WHAT IS THE PROJECT THAT YOU ARE MOST PROUD OF?
I’ve worked on all the Smurfs movies. I started on the animated TV series early in my career and was hired to color correct all three of the motion pictures. The most challenging aspect of these movies early on was the combination live action and animation.

I became known as the “Smurf Blue guy” for keeping the characteristic blue color of the characters consistent. I especially enjoyed working with the animation clients on these shows because they are extremely precise, and I respect that.

A close second favorite is the motion picture Burlesque. The cinematography on that film was executed brilliantly; it featured dramatic dance numbers enhanced with creative lighting, had an avant-garde cast and was a throw-back to old Hollywood.

WHERE DO YOU FIND INSPIRATION? ART? PHOTOGRAPHY?
I feel as connected to the old as to the new. Technology is always morphing, and the way movies are made constantly in flux. This is a source of fascination to me, and I’m inspired by the way all forms of art both reflect and influence culture. I study how camerawork and lighting techniques come and go, and how they were and are effectively used artistically in movies past and present. How to communicate different facets of life is the fundamental inspiration for art. What I do is a technical art form, so it draws deeply on these principles.

NAME SOME TECHNOLOGY YOU CAN’T LIVE WITHOUT.
XM Radio, television, my iPhone and my coffeemaker.

WHAT SOCIAL MEDIA CHANNELS DO YOU FOLLOW?
I thoroughly enjoy reading blogs, and especially listening to podcasts of cinematographers and other colorists to stay current on innovation trends. Anything to do with the industry on Facebook, YouTube, etc. is always interesting to me.

WHAT DO YOU DO TO DE-STRESS FROM IT ALL?
Sinatra, classic radio shows and pastry. Actually, it’s my sense of humor that keeps me going. Also, coming home to my loving family and being highly involved in my children’s lives is my lifeblood.


ASC names Eric Rodli executive director

Eric Rodli has been named executive director of the American Society of Cinematographers (ASC). Rodli, an ASC associate member since 2001, has served six years as co-chair of the ASC Motion Imaging Technology Council’s Cinema Display Committee. He co-authored the committee’s 2016 white paper “Cinema Display Evaluation Plan and Test Protocol,” which explores the key image quality parameters of dynamic range, color space and overall luminance, as well as suggesting testing parameters.

He has also been a member of the Academy of Motion Picture Arts and Sciences Task Force on Content Preservation, and has participated in numerous industry panels ranging on topics from digital media distribution to projection.

Rodli served as president at Iwerks Entertainment, Bexel and Kodak’s motion picture film division, and most recently as CFO of BeBop Technologies. He has worked on many creative and technical initiatives across multiple industry sectors, dating back to pioneering the use of the first generation of HD cameras, as well as 3D projection, digital streaming technology and laser projection systems. His strategic and hands-on experience in the imaging chain has fueled his belief that technology should serve the artist.

Focused on education, the ASC hosts many programs, including the ASC Master Classes, Student Heritage Awards, Coffee and Conversation Q&As with cinematographers and panel discussions by the Education and Outreach Committee. The efforts of the ASC Motion Imaging Technology Council (MITC) since 2003 have shaped the standards and practices of cinematography for digital workflows, with the group and its committees working closely with the Academy’s Sci-Tech Council and SMPTE. The ASC Vision Committee also holds events to foster diversity and equality on camera crews.


Sony to ship Venice camera this month, adds capabilities

Sony’s next-gen CineAlta motion picture camera Venice, which won a postPerspective Impact Award for IBC2017, will start shipping this month. As previously announced, V.1.0 features support for full-frame 24x36mm recording. In addition, and as a result of customer feedback, Sony has added several new capabilities, including a Dual Base ISO mode. With 15+ stops of exposure latitude, Venice will support an additional High Base ISO of 2500 using the sensor’s physical attributes. This takes advantage of Sony’s sensor for low-light performance with high dynamic range — from 6 stops over to 9 stops under 18% middle gray.

This new capability increases exposure indexes at higher ISOs for night exteriors, dark interiors, working with slower lenses or where content needs to be graded in HDR, while maintaining the maximum shadow details. An added benefit within Venice is its built-in 8-step optical ND filter servo mechanism. This can emulate different ISO operating points when in High Base ISO 2500 and also maintains the extremely low levels of noise characteristics of the Venice sensor.

Venice also features new color science designed to offer a soft tonal film look, with shadows and mid-tones having a natural response and the highlights preserving the dynamic range.

Sony has also developed the Venice camera menu simulator. This tool is designed to give camera operators an opportunity to familiarize themselves with the camera’s operational workflow before using Venice in production.

Features and capabilities planned to be available later this year as free firmware upgrades in Version 2 include:
• 25p in 6K full-frame mode will be added in Version 2
• False Color (moved from Version 3 to Version 2)

Venice has an established workflow with support from Sony’s RAW Viewer 3, and third-party vendors including Filmlight Baselight 5, Davinci Resolve 14.3, and Assimilate Scratch 8.6 among others. Sony continues to work closely with all relevant third parties on workflows including editing, grading, color management and dailies.

Another often requested feature is support for high frame rates, which Sony is working to implement and make available at a later date.

Venice features include:
• True 36x24mm full frame imaging based on the photography standard that goes back 100 years
• Built-in 8-step optical ND filter servo mechanism
• Dual Base ISO mode, with High Base ISO 2500
• New color science for appealing skin tones and graceful highlights – out of the box
• Aspect ratio freedom: Full frame 3:2 (1.5:1), 4K 4:3 full height anamorphic, spherical 17:9, 16:9.
• Lens mount with 18mm flange depth opens up tremendous lens options (PL lens mount included)
• 15+ stops of exposure latitude
• User-interchangeable sensor that requires removal of just six screws
• 6K resolution (6048 x 4032) in full frame mode


The A-List: The Big Sick director Michael Showalter

By Iain Blair

If life is stranger than fiction, then the acclaimed Oscar-nominated film The Big Sick is Exhibit A. Based on the unlikely real-life courtship between Pakistani comedian/writer Kumail Nanjiani and writer/producer Emily V. Gordon, it tells the story of Kumail (playing a version of himself), who connects with grad student Emily (Zoe Kazan) after one of his standup sets. However, what they thought would be just a one-night stand blossoms into the real thing, which complicates the life that is expected of Kumail by his traditional Muslim parents.

Michael Showalter on set.

When Emily is beset with a mystery illness, and then placed in a medically induced coma, it forces Kumail to navigate the medical crisis with her parents, Beth and Terry (Holly Hunter and Ray Romano), whom he’s never met, while dealing with the emotional tug-of-war between his family and his heart.

The Big Sick is a crowd-pleasing rom-com, written by Gordon and Nanjiani, and produced by Judd Apatow (Trainwreck, This is 40) and Barry Mendel (Trainwreck, The Royal Tenenbaums). But it also deals with drama, racism and the clash of cultures. It was directed by Michael Showalter, who co-wrote and directed the SXSW Audience Award-winning film Hello, My Name is Doris, starring Sally Field. He’s a founding member of the comedy groups The State and Stella, his other film credits include The Baxter, Wet Hot American Summer and They Came Together. He has also co-created numerous television projects, including Wet Hot American Summer: First Day of Camp (Netflix) and Search Party (TBS).

We recently spoke with Showalter about making the film, which has been generating awards buzz (it won AFI’s Movie of the Year award), including an Academy Award nomination for Best Original Screenplay.

Is it true you actually gave Nanjiani his first big TV job, and what did you think when you first read this?
Yes. I’ve known Kumail a long time. I met him in New York in the comedy scene when he first arrived. I love his comedy and sensibility, and I also love him personally. He’s a great guy and we’ve worked together a lot over the years.

We hired him as a staff writer and actor for a Comedy Central series, Michael and Michael Have Issues. I did, and then I cast him in a supporting role in My Name is Doris. Then he sent me this script without saying much about it. I didn’t know it was based on their lives and that all this had happened — I just loved it and everything about it.

Kumail Nanjiani as “Kumail” and Zoe Kazan as “Emily” in THE BIG SICK. Photo by Sarah Shatz.

It’s definitely not your usual rom-com.
I kind of knew what sort of film they wanted it to be — more than just the genre, but the feel of it. I knew the tone they were going for, and that I could do that. So I begged them to hire me, and then I met with Judd and Barry and we spent eight months rewriting it — Kumail, Emily, Judd, Barry and me, and then I got hired and off we went.

The structure is very different from a normal rom-com. How challenging was that, and what sort of film did you set out to make?
You’re right, as usually the second act is where the characters fall in love, then they break up and then they get back together in the third act, but in this all of that happens right in the first act. Then the love interest isn’t even there for the entire second act — which is pretty challenging — and the film gets a lot darker in the second half. So we had to figure out how to keep it moving forward, and I wanted to make a film that’s very funny, first and foremost — a comedy.

But it’s a comedy that walks the line between comedy and drama, even tragedy, and I wanted to give full weight to both elements and not let it get too sentimental. I love theater and some of my favorite plays — like Angels in America — start off as laugh-out-loud comedies and then get really serious, and I love the way they allow those opposites to co-exist.

How involved was Judd Apatow in developing the film?
Judd was very involved in all aspects — tightening up the screenplay, casting and then editing. He’s so experienced, and a great collaborator.

How was the shoot?
We shot on digital, in New York, it was just 25 days, so pretty tight, but it went great thanks to a great line producer and crew. The biggest issue was that it’s set in cold weather and we shot in a heat wave.

Do you like the post process?
I love it. It’s so creative and, of course, it’s where you actually make the movie.

Tell us about working with editor Robert Nassau, who cut My Name is Doris for you and Wanderlust for Judd Apatow. What were the main editing challenges?
As a TV showrunner and film director, my preferred way of working in post is to empower editors, and I rely on them the same way I do with a production designer or DP. I’m not big on micro managing, so I like to give the footage to my editor and then see what they do with it. And I go into production with a very clear game-plan. There’s not a lot of figuring it all out on the day. Then I’m very interested in the editor’s interpretation of the footage, and if it’s working, I give notes and we go along like that. I’m not the sort of director who’s in the room all the time, looking over the editor’s shoulder. I’m much more laissez-faire.

Where did you edit and post this?
Rob has his own editing suite at home in New York, so he did the assembly and director’s cut there while I was in LA. Then he came out to LA for the producer’s cut, and on any given day either me or Kumail, Judd and Barry — or all of us — would be there too, going over specific scenes and beats. But Judd had final cut, and once I’d done my cut, all the post became much more of a group endeavor.

How important are sound and music to you?
They’re both crucial elements and we did it all in LA, working with Judd’s sound team, which does most of his projects. We wanted the sound to be very intimate and very clean, so you feel like you’re with the characters all the time and you hear everything they’re saying in these small, intimate places, as opposed to having a rougher, grittier sound design. Then composer Mike Andrews, who’s scored a lot of projects for Judd, like Bridesmaids, came on board and did a score that really mirrored the emotions of the characters, without over-scoring it.

Who was the colorist and where did you do the DI?
We did the digital intermediate and dailies at Technicolor Postworks NY, and Alex Bickel was the colorist. I’m very involved in all that. The color is very important, and we wanted a very warm, authentic look, as opposed to going more muted and drained-out. We experimented a bit and Alex did a great job.

What’s next?
I’ve got a few things I’m working on but I can’t talk about them yet!


Industry insider Iain Blair has been interviewing the biggest directors in Hollywood and around the world for years. He is a regular contributor to Variety and has written for such outlets as Reuters, The Chicago Tribune, The Los Angeles Times and the Boston Globe.


The A-List: Roman J. Israel, Esq. director Dan Gilroy

By Iain Blair

Writing and movies have always been in director/writer Dan Gilroy’s DNA. The son of Pulitzer Prize-winning playwright Frank Gilroy, he has two brothers who’re also in the business — director/writer Tony Gilroy (Michael Clayton, the Bourne franchise) and editor John Gilroy.

After making a name for himself as a successful screenwriter on such projects as The Bourne Legacy, Real Steel and Two for the Money, he made his feature directorial debut with Nightcrawler in 2014. He also wrote the film, which starred Jake Gyllenhaal, Rene Russo and Riz Ahmed. Nightcrawler earned him an Academy Award nomination for Best Original Screenplay.

Dan Gilroy and Denzel Washington on set.

His film, Roman J. Israel, Esq., which earned its star Denzel Washington an Academy Award nomination and recognition from the Golden Globe and SAG, is another intense character study. Set in the underbelly of the overburdened Los Angeles criminal court system, it stars Denzel Washington as a driven, idealistic defense attorney whose life is upended after his boss and mentor, a civil rights icon, dies. When Roman is recruited to join a law firm led by one of the legendary man’s former students — the ambitious George Pierce (Colin Farrell) — and begins a friendship with a young champion of equal rights (Carmen Ejogo), a series of events ensues that put the activism that has defined Roman’s career to the test.

Collaborating with Gilroy behind the scenes was director of photography Robert Elswit, editor John Gilroy, production designer Kevin Kavanaugh and costume designer Francine Jamison-Tanchuck.

I recently talked with Gilroy about making the film and collaborating with Washington.

Is it true you wrote the film on spec specifically for Denzel?
I did. After Nightcrawler I took myself off the market for a year, researched this and wrote it on spec. I could only ever see Denzel playing Israel.

Would you have still done it without him?
No, I would have just put it away. He was crucial to the film. You have to take a pill with every movie and buy into the premise, and on this you had to believe that for 40 years he’s toiled away in the shadows and never compromised his beliefs. And Denzel utterly transformed himself physically for the role, but he’s also a man of faith who believes in something bigger than himself.

What did he bring to the role?
Apart from being this incredibly gifted actor, he brought a deep conviction to the part.

What sort of themes were you interested in exploring through this?
My biggest struggle is with my conscience. Am I doing enough? And this was a chance to examine activism, which can take a big emotional toll, but then you also know that you’re helping make the world a better place. That’s one of the key themes of the film — the importance of belief. It’s an homage to activism and to anyone who dedicates some of their time to a cause other than themselves. That sort of belief can be both a blessing and a burden, as it can get you up in the morning to fight for something, but it can also sap you.

Why did you shoot 35mm rather than digital?
We wanted that great film look, even though it’s very expensive to shoot that way now. Denzel and I actually shared the added cost.

Doesn’t that affect the post workflow nowadays?
You’re right, it does, as you have to find a lab that can still handle film as everyone’s so used to digital now, and you have a slight delay in dailies — 24 hours. But apart from that, there’s not much interruption to the flow. One big thing it does is cut way down on the footage you have to deal with in editing and post. When you shoot digitally, you don’t think twice about doing 10 or 15 takes in a row. You don’t do that with film. You’re far more careful and specific about what you shoot.

Dan Gilroy opted to shoot on 35mm.

You shot all on location downtown. How tough was that? 
Very tough. We had over 60 locations, and unlike Nightcrawler it was nearly all daytime, and the traffic is just brutal and makes it very hard just moving around. I always wanted to put the character in real-world situations, so sometimes we’d hide cameras down alleyways and behind cars and shoot stuff as if it was surveillance footage. Denzel would be walking around and people would bump into him and not give him a second glance — and those weren’t extras.

Where did you post?
On the Sony lot. We did all the sound at Formosa.

Do you like the post process?
I absolutely love it. You have all the pieces in front of you, and they haven’t hardened yet. They’re malleable, and you can do anything you want and rewrite the whole movie in post if you want. You can pre-lap dialogue, you can intercut and do so many things that have a profound impact on the flow of the story. You can speed up stuff and slow it down by the way you cut and use transitions, and give scenes a whole new energy. Post is amazing.

You edited again with your brother John, who cut Nightcrawler. How did that work?
He read the script before we began shooting, and then he was on the set and then we worked side-by-side on the assembly. He’s like my right arm. (See our interview with John.)

What were the main challenges of editing this film?
The time! We were running long and had to keep cutting. We went to the Toronto Film Festival with it and screened it at 2 hours 14 minutes, but that was still too long, so we had to go back and cut another 13 minutes… that was very tough to do.

I heard Denzel was also involved in the edit.
It’s true, he was. Isn’t that crazy? Normally I couldn’t have even conceived of having an actor come into the cutting room and doing that, because most actors are just not objective. But Denzel is such an asset, and he truly is objective and has an incredible eye. Of course, he’s directed films himself, so it made perfect sense to keep collaborating in the edit.

How many visual effects shots were there and who did them?
Zero VFX did them, and there were quite a few. The biggest VFX shot — which originally was going to be done practically — was when we dropped down 400 feet at night into this alley. We planned to do it with a drone, so we sent it up with an Alexa on it, but it was wet and windy that night and it just didn’t work, so we had to redo it all in post. The apartment building they’re constructing next to Israel’s building was all a big VFX shot, and we had a lot of smaller shots and clean-up and so on.

It has a great soundtrack. Can you talk about the importance of music and sound?
They’re so important to me, and they’re a huge percentage of the final film. Music can instantly transport you to other levels and places and change the whole emotional fabric of a scene. Denzel was very involved in that too. He has over 20,000 songs on his iPod and he came up with specific songs that would be the soundtrack to Roman’s life — songs from the ‘60s and ‘70s — and picked a lot of the cues. James Newton Howard, who did Nightcrawler, did the film score.

How about the DI?
We did it at Company 3 in LA with Stefan Sonnenfeld who has worked a lot with Tony. I’m very involved in about 85% of it, and then I leave the last 15% to the DP and my brother John. I love the DI as you can go in and highlight small details and play around with the look and color so much. It’s so creative.

Did it turn out the way you hoped?
It’s beyond what I imagined when I was writing it, and I think Denzel’s performance is truly amazing.

What’s next?
I’m in pre-production on a film for Netflix, a drama set in LA’s contemporary art world. It’s starring Jake Gyllenhaal and Renee Russo, and it’ll be out in October.


Industry insider Iain Blair has been interviewing the biggest directors in Hollywood and around the world for years. He is a regular contributor to Variety and has written for such outlets as Reuters, The Chicago Tribune, The Los Angeles Times and the Boston Globe.


Dee Rees talks about directing Netflix’s Mudbound

By Iain Blair

Change is good, and while there are only a handful of young, successful, black female directors shooting features these days, the tide is starting to turn. Case in point: Dee Rees, who is helping lead the charge with her powerful new feature Mudbound, which was nominated for two Golden Globes.

Set in the rural American South during World War II, it’s an epic story of two families pitted against one another by a ruthless social hierarchy, yet bound together by the shared farmland of the Mississippi Delta.

Writer Iain Blair and director Dee Rees.

On one side is the McAllan family, newly transplanted from the quiet civility of Memphis and unprepared for the harsh demands of farming. Despite the grandiose dreams of Henry (Jason Clarke), his wife Laura (Carey Mulligan) struggles to keep the faith in her husband’s losing venture.

On the other side are Hap and Florence Jackson (Rob Morgan, Mary J. Blige), sharecroppers who have worked the land for generations and who also struggle bravely to build a small dream of their own despite the rigidly enforced social barriers they face.

The war upends both families’ plans as their returning loved ones, Jamie McAllan (Garrett Hedlund) and Ronsel Jackson (Jason Mitchell), forge a fast but uneasy friendship that challenges the brutal realities of the Jim Crow South in which they live.

The film was co-written by Rees, who made her feature film debut with Pariah, which won a ton of awards. She went on to direct the Emmy-Award-winning HBO film Bessie.

I talked recently with Rees about making the film and the push for more diversity in the industry.

What was your vision for this film?
A good old-fashioned sprawling Hollywood epic that they don’t make anymore, with tons of characters and drama and emotion.

This is a period piece, but there are a lot of the issues you deal with — racism, class, women’s issues, civil rights issues. These are all particularly timely now.
Yes, and I think it’s become more timely because our consciousness has changed. I think it would have been timely five or 10 years ago, but audiences might not have recognized it as such, and attitudes have changed and are still changing about all these issues — and others. Look at all the sex scandal stuff coming to light in Hollywood and other places.

Is it true you absolutely wanted to shoot this in the South, but then found it wasn’t so easy in terms of finding the right locations?
Yes, I’m from the South — Nashville, Tennessee — and I hate seeing Southerners and the South not depicted correctly and accurately, and the locations were vital as they function like another character in the story. So we scouted all over the South — Mississippi, where it’s actually set, and Georgia and Louisiana — and we ended up shooting on a working sugar plantation near New Orleans. The landscape and farmland was perfect. It really gave you the sense of unrelenting nature, and the way the furrows went in the field was a big artistic choice… deciding how the lines were going to go.

It’s interesting that Louisiana has preserved a lot of their slave history. You can see the original sharecroppers’ cabins, and I think it’s right to preserve stuff like that so you can see it actually happened. In Mississippi, a lot of that’s gone. So we used real sharecroppers’ cabins, and convinced the owners to let us move these historical buildings deeper into the fields, as we wanted to have these 360-degree shots where you feel that the characters are all dwarfed by the landscape. All that has an accumulative effect in creating this world. We didn’t use any soundstages at all because I wanted it to look and feel authentic. You just can’t fake all the mud and dust and that landscape.

I imagine the shoot wasn’t easy?
It was pretty intense. We were supposed to have 28 days there, but we got rained out two days and had to make that up. Then we shot for two days in Budapest for the wartime scenes, including a big tank battle. We did that in the morning and then the liberation scenes the next day, and then later, during the edit, we shot the B52 plane scenes at a war museum on Long Island, and that was a big dance between special effects and VFX. So we ended up with 29 days for a big story that you’d normally need 60 days to do justice considering the sheer scope and scale involved.

You had a women DP (Rachel Morrison), who shot Fruitvale Station, and a woman editor (Mako Kamitsuna), who cut Pariah for you and who’s now cutting Johnny Depp’s LAbyrinth as well as a woman composer (Tamar-Kali). Was that deliberate?
Absolutely, but I wanted to make sure it wasn’t just tokenism. Too often hiring women can get conflated with tokenism, and they are women who are incredibly at what they do.

Do you like the post process?
I love it, and it reminds me of writing, which is solitary, contemplative and internal. Production is a frenzied rush, external and exhausting, and then you get to post which is where you recoup in a way, and was just me and Mako making the film. We did most of the editing in an artist’s loft in upstate New York, which was really cheap to rent. I like being away from all the noise and bustle of New York and just isolating for a bit and really focusing. Then Tama, our composer, came in, and then our sound team, and we had the space and time to really build it all up and elevate the raw material.

What were the main editing challenges?
The biggest one was figuring out when to move from one family story to the other. I was worried about staying with the McAllan’s too long, and then suddenly the Jacksons come out of nowhere, maybe too soon, and then having to explain some of the back story out of sequence. So do you break the chronology or trust that when you hand off to the Jacksons it’ll work for the audience? We kept starting with the burial, and then going into all the tensions between the families, with all the questions, like why do they hate each other so much?

In one version we went off with the Jacksons, but it didn’t quite work, and ultimately we started with Henry. He took us to the farm, which takes us to the war, and the war takes us to Ronsel and Jamie, and then it all flowed. But we had to make sure each family had its own trajectory, and one exercise we did was to edit just one family story as if it was its own film. Then we did the other family to see where it worked, where it didn’t, and where the natural intersections fell in their stories. That was so helpful.

Can you talk about the importance of sound and music in Mudbound?
It’s so important to me, and I always want the score to work seamlessly with the sound design so it feels like it comes out of the sound design. Like with the editing, I feel the music shouldn’t be used as an emotional crutch, so once we had picture locked Tamar came in and then reacted to it with her score, and I didn’t have to say much to her.

She was inspired and wrote this beautiful orchestral score, which was perfect because I didn’t want to have the obvious 1940s thing with banjo, blues and harmonica. I wanted strings, and my sound team did a fantastic job. We did a Atmos mix at Harbor in New York, thanks to a Dolby grant, and it was so cool and exciting to do that.

This is obviously a performance-driven piece, but there must have been a fair amount of visual effects?
Mr. X Gotham did them all, and we had quite a lot for the plane scenes, including the B52 formation and the tank battle scenes. They also added some explosions, and there was cleanup work, but all the farm stuff — the mud and water — was all real and in-camera. We used a lot of special effects — squibs and gore packs — for the war scenes.

What about the DI?
We did it at Harbor Post in New York, and the colorist was Joe Gawler (who worked on Blackmagic Resolve). He did a really great job.

Did it all turn out the way you pictured?
It did and I’m really happy with it.

Mudbound is making a lot of Oscar and other awards noise right now — deservedly so. What does that mean to you?
It’s very exciting for all the crafts people involved. I feel we made a great film, but without a huge budget, so the more attention the better.

There’s been a lot of talk about the lack of opportunity for women and minorities in Hollywood. Are things improving?
Very slowly, but a lot of the problem is the pipeline. We need more creatives able to get in the door. The Academy is just a receptacle at the end of the pipeline. We can change its make up, but the bigger thing is changing what’s getting made.


Industry insider Iain Blair has been interviewing the biggest directors in Hollywood and around the world for years. He is a regular contributor to Variety and has written for such outlets as Reuters, The Chicago Tribune, The Los Angeles Times and the Boston Globe.


Peter Doyle on coloring Churchill’s England for Darkest Hour

By Daniel Restuccio

Technicolor supervising digital colorist Peter Doyle is pretty close to being a legend in the movie industry. He’s color graded 12 of the 100 top box office movies, including Peter Jackson’s Lord of the Rings trilogy, six Harry Potter films, Aleksander Sokurov’s Venice Golden Lion-winning Faust, Joel and Ethan Coen’s Inside Llewyn Davis, The Ballad of Buster Scruggs and most recently the Golden Globe-nominated Darkest Hour.

Grading Focus Features’ Darkest Hour — which focuses on Winston Churchill’s early days as Prime Minister of the United Kingdom during WWII — represents a reunion for Doyle. He previously worked with director Joe Wright (Pan) and director of photography Bruno Delbonnel (Inside Llewyn Davis). (Darkest Hour picked up a variety of Oscar nominations, including Best Picture and Best Cinematography for Delbonnel.)

Peter Doyle

The vibe on Darkest Hour, according to Doyle, was very collaborative and inspiring. “Joe is an intensely visual director and has an extraordinary aesthetic… visually, he’s very considerate and very aware. It was just great to throw out ideas, share them and work to find what would be visually appropriate with Bruno in terms of his design of light, and what this world should look like.”

All the time, says Doyle, they worked to creatively honor Joe’s overall vision of where the film should be from both the narrative and the visual viewpoint.

The creative team, he continues, was focused on what they hoped to achieve in terms of “the emotional experience with the visuals,” what did they want this movie to look like and, technically, how could they get the feeling of that imagery onto the screen?

Research and Style Guide
They set about to build a philosophy of what the on-screen vision of the film would be. That turned into a “style guide” manifesto of actually how to get that on screen. They knew it was the 1940s during World War II, so logically they examined newsreels and the cameras and lenses that were used at the time. One of the things that came out of the discussions with Joe and Bruno was the choice of the 1.85:1 aspect ratio. “It’s quite an ensemble cast and the 2.35:1 would let you spread the cast across the screen, but wide 1.85:1 felt most appropriate for that.”

Doyle also did some research at the Victoria and Albert Museum’s very large photographic collection and dug into his own collection of photographic prints made with alternate color processes. Sepia and black and white got ruled out. They investigated the color films of the time and settled in on the color work of Edward Steichen.

Delbonnel chose Arri Alexa SXT cameras and Cooke S4s and Angenieux zoom lenses. They mastered in ArriRaw 3.2K. Technicolor has technology that allowed Doyle to build a “broad stroke” color-model-based emulation of what the color processes were like in the ’40s and apply that to the Alexa. “The idea,” explains Doyle, “was to take the image from the Alexa camera and mold it into an approximation of what the color film stocks would have looked like at the time. Then, having got into that world, tweak it slightly, because that’s quite a strong look,” and they still needed it to be “sensitive to the skin tones of the actors.”

Color Palette and Fabrics
There was an “overall arc” to this moment in history, says Doyle. The film’s setting was London during WWII, and outside it was hot and sunny. Inside, all lights were dimmed filaments, and that created a scenario where visually they would have extremely high-contrast images. All the colors were natural-based dyes, he explains, and the fabrics were various kind of wools and silks. “The walls and the actual environment that everyone would have been in would be a little run down. There would have been quite a patina and texture on the walls, so a lot of dirt and dust. These were kind of the key points that they gave me in order to work something out.”

Doyle’s A-ha Moment
“I took some hero shots of Kristin Scott Thomas (Clementine Churchill) and Gary Oldman (Winston Churchill), along with a few of the other actors, from Bruno’s rushes,” explains Doyle, adding that those shots became his reference.

From those images he devised different LUTs (Look Up Tables) that reflected different kinds of color manipulation processes of the time. It also meant that during principal photography they could keep referencing how the skin tones were working. There are a lot of close-ups and medium close-ups in Darkest Hour that gave easy access to the performance, but it also required them to be very aware of the impact of lighting on prosthetics and makeup.

Doyle photographed test charts on both 120mm reversal film of Ektachrome he had sitting in his freezer from the late ’70s and the Alexa. “The ‘a-ha moment’ was when we ran a test image through both. It was just staggering how different the imagery really looked. It gave us a good visual reference of the differences between film and digital, but more accurately the difference between reversal film and digital. It allowed us to zero in on the reactions of the two imaging methods and build the show LUTs and emulation of the Steichen look.”

One Word
When Doyle worked on Llewelyn Davis, Delbonnel and the Coen brothers defined the look of the film with one word: “sad.” For Darkest Hour, the one word used was “contrast,” but as a multi-level definition not just in the context of lights and darks in the image. “It just seemed to be echoed across all the various facets of this film,” says Doyle. “Certainly, Darkest Hour is a story of contrasting opinions. In terms of story and moments, there are soldiers at war in trenches, whilst there are politicians drinking champagne — certainly contrast there. Contrast in terms of the environment with the extreme intense hot summer outside and the darkness and general dullness on the inside.”

A good example, he says, is “the Parliament House speech that’s being delivered with amazing shafts of light that lit up the environment.”

The DP’s Signature
Doyle feels that digital cinematography tends to “remove the signature” of the director of photography, and that it’s his job to put it back. “In those halcyon days of film negative, there were quite a lot of processes that a DP would use in the lab that would become part of the image. A classic example, he says, is Terrence Malick’s Days of Heaven, which was shot mostly during sunrise and sunset by Nestor Almendros, and “the extraordinary lightness of the image. Or Stanley Kubrick’s Barry Lyndon, which was shot by John Alcott with scenes lit entirely by candles “that have a real softness.” The looks of those movies are a combination of the cinematographer’s lighting and work with the lab.

“A digital camera is an amazing recording device. It will faithfully reproduce what it records on set,” says Doyle. “What I’ve done with Bruno in the testing stage is bring back the various processes that you would possibly do in the lab, or at least the concept of what you would do in the laboratory. We’re really bending and twisting the image. Everyone sees the film the way that the DP intends, and then everyone’s relationship with that film is via this grade.”

This is why it’s so important to Doyle to have input from day one rushes through to the end. He’s making sure the DP’s “signature” is consistent to final grade. On Darkest Hour they tested, built and agreed on a look for the film for rushes. Colorist Mel Kangleon worked with Delbonnel on a daily basis to make sure all the exposures were correct from a technical viewpoint. Also, aesthetically to make sure the grade and look were not being lost.

“The grades that we were doing were what was intended by Bruno, and we made sure the actual imagery on the screen was how he wanted it to be,” explains Doyle. “We were making sure that the signature was being carried through.”

Darkest Hour and HDR
On Darkest Hour, Doyle built the DCI grade for the Xenon projector, 14 foot-lambert, as the master color corrected deliverable. “Then we took what was pretty much the LAD gray-card value of that DCI grade. So a very classic 18% gray that was translated across to the 48-, the 108-, the 1,000- and the 4,000-nit grade. We essentially parked the LAD gray (18% gray) at what we just felt was an appropriate brightness. There is not necessarily a lot of color science to that, other than saying, ‘this feels about right.’ That’s (also) very dependent on the ambient light levels.”

The DCI projector, notes Doyle, doesn’t really have “completely solid blacks; they’re just a little gray.” Doyle wished that the Xenon could’ve been brighter, but that is what the theatrical distribution chain is at the moment, he says.

When they did the HDR (High Dynamic Range) version, which Doyle has calls as a “new language” of color correction, they took the opportunity to add extra contrast and dial down the blacks to true black. “I was able to get some more detail in the lower shadows, but then have absolutely solid blacks —  likewise on the top end. We opened up the highlights to be even more visceral in their brightness. Joe Wright says he fell in love with the Dolby Vision.”

If you’re sitting in a Dolby Vision Cinema, says Doyle, you’re sitting in a black box. “Therefore, you don’t necessarily need to have the image as bright as a Rec 709 grade or LAD gray, which is typically for a lounge room where there are some lights on. There is a definite ratio between the presumed ambient light level of a room and where they park that LAD,” explains Doyle.

Knowing where they want the overall brightness of the film to be, they translate the tone curve to maintain exactly what they did in the DCI grade. Then perceptually it appears the same in the various mediums. Next they custom enhance each grade for the different display formats. “I don’t really necessarily call it a trim pass; it’s really adding a flare pass,” elaborates Doyle. “A DCI projector has quite a lot of flare, which means it’s quite organic and reactive to the image. If you project something on a laser, it doesn’t necessarily have anywhere near that amount of flair, and that can be a bit of a shock. Suddenly, your highlights are looking incredibly harsh. We went through and really just made sure that the smoothness of the image was maintained and emulated on the other various mediums.”

Doyle also notes that Darkest Hour benefited from the results of his efforts working with Technicolor color scientists Josh Pines and Chris Kutchka, working on new color modeling tools and being able “to build 3D LUTs that you can edit and that are cleaner. That can work in a little more containable way.”

Advice and Awards
In the bright new world of color correction, what questions would Doyle suggest asking directors? “What is their intent emotionally with the film? How do they want to reinforce that with color? Is it to be approached in a very literal way, or should we think about coming up with some kind of color arc that might be maybe counter intuitive? This will give you a feel for the world that the director has been thinking of, and then see if there’s a space to come at it from a slightly unexpected way.”

I asked Doyle if we have reached the point where awards committees should start thinking about an Academy Award category for color grading.

Knowing what an intensely collaborative process color grading is, Doyle responded that it would be quite challenging. “The pragmatist in me says it could be tricky to break it down in terms of the responsibilities. It depends on the relationship between the colorist, the DP and the director. It really does change with the personalities and the crew. That relationship could make the breakdown a little tricky just to work out whose idea was it to actually make it, for example, blue.”

Because this interview was conducted in December, I asked Doyle, what he would ask Santa to bring him for Christmas. His response? “I really think the new frontier is gamut mapping and gamut editing — that world of fitting one color space into another. I think being able to edit those color spaces with various color models that are visually more appropriate is pretty much the new frontier.”


Daniel Restuccio is a producer and teacher based in Southern California.

ASC celebrates cinematographers with annual award noms

The nominees for the 32nd Annual ASC Awards for Outstanding Achievement were revealed in all categories at a special event staged at the ASC Clubhouse.

In an announcement that drew cheers, Mudbound cinematographer Rachel Morrison became the first woman to be nominated in the feature category. Joining her in the Theatrical Release category were Roger Deakins for Blade Runner 2049, Bruno Delbonnel for Darkest Hour, Hoyte Van Hoytema for Dunkirk and Dan Laustsen for The Shape of Water.

Laustsen was the other first-time nominee for his work on Guillermo del Toro’s magical The Shape of Water. Deakins, a previous winner of the ASC’s Lifetime Achievement Award, celebrated his 15th nomination in the category. Delbonnel scored his fourth nomination, while Van Hoytema’s work was recognized for the second time.

In the television categories, HBO’s Game of Thrones and Syfy’s 12 Monkeys both received two nominations.

Here’s the complete list of this year’s nominees:

Dunkirk

Theatrical Release

  • Roger Deakins, ASC, BSC for Blade Runner 2049
  • Bruno Delbonnel, ASC, AFC for Darkest Hour
  • Hoyte van Hoytema, ASC, FSF, NSC for Dunkirk
  • Dan Laustsen, ASC, DFF for The Shape of Water
  • Rachel Morrison, ASC for Mudbound

Spotlight Award
(Recognizing outstanding cinematography in feature-length projects that are screened at festivals, internationally or in limited theatrical release.)

  • Máté Herbai, HSC for On Body and Soul
  • Mikhail Krichman, RGC for Loveless
  • Mart Taniel for November

    The Crown

     

Episode of a Series for Non-Commercial Television

  • Gonzalo Amat for The Man in the High Castle (“Land O’ Smiles”) on Amazon
  • Adriano Goldman, ASC, ABC for The Crown (“Smoke and Mirrors”) on Netflix
  • Robert McLachlan, ASC, CSC for Game of Thrones (“The Spoils of War”) on HBO
  • Gregory Middleton, ASC, CSC for Game of Thrones (“Dragonstone”) on HBO
  • Alasdair Walker for Outlander (“The Battle Joined”) on Starz

 Episode of a Series for Commercial Television

  • Dana Gonzales, ASC for Legion (“Chapter 1”) on FX
  • David Greene, ASC, CSC for 12 Monkeys (“Mother”) on Syfy
  • Kurt Jones for The Originals (“Bag of Cobras”) on The CW
  • Boris Mojsovski, CSC for 12 Monkeys (“Thief”) on Syfy
  • Crescenzo Notarile, ASC for Gotham (“The Executioner”) on Fox

Motion Picture, Miniseries, or Pilot Made for Television

  • Pepe Avila del Pino for The Deuce pilot on HBO
  • Serge Desrosiers, CSC for Sometimes the Good Kill on Lifetime
  • Mathias Herndl, AAC for Genius (“Chapter 1”) on National Geographic
  • Shelly Johnson, ASC for the Training Day pilot (“Apocalypse Now”) on CBS
  • Christopher Probst, ASC for the Mindhunter pilot on Netflix

The winners will be announced at a ceremony on February 17 in Hollywood, emceed this year by Ben Mankiewicz, a longtime host on Turner Classic Movies (TCM).

Main Photo: The Shape of Water