FotoKem colorist Walter Volpatto comes from a family of farmers in Italy. He studied electrical engineering at the local university, which gave him an entrée into broadcasting. He began his career at RAI (Italy’s national public broadcasting company), where he became proficient with electronic compositing, lighting and photography. Around 2000, as more computers came to market, he segued into digital mastering, learning the craft with the help of film color timers.
Volpatto then transitioned to Cinecitta Studios about 10 years later, and subsequently became a freelance colorist. After working in that role on a documentary for FotoKem (@fotokem), Volpatto joined the facility in 2003. His credits include many features, such as Interstellar, San Andreas, CBGB, Chronicle and Hustle & Flow, along with some TV movie and restoration projects. His most recent project is the film Stonewall, about the 1969 Stonewall riots, which kicked off the gay rights movement in New York City.
A photographer himself, Volpatto says he is particularly attracted to the artists of the Renaissance, and the purest form of art. He claims his best work is influenced by art representing reality. Let’s find out more.
How has the state of the art of DI technology changed over the course of your career?
Computing power has advanced exponentially over the years, making it easier to review footage and make changes in realtime versus waiting for files to render. But machines are simply tools. The color science and approaches we use today have pretty much stayed the same — other than slightly different strategies that support digital and film projects. The bottom line is I can certainly work faster with the new tools, but the concept behind the DI hasn’t really changed.
How did you work and communicate with director Roland Emmerich and/or DP Markus Förderer regarding their vision for the look of Stonewall? What did those discussions reveal in terms of the direction you would take?
I worked with Markus about 99 percent of the time. He and Roland had a bold vision for the movie, and they were very much in sync on the look they wanted. When they approached us about the project, I asked Markus some standard questions about the camera and his intent for the look, and we immediately started talking about film. Even though he wanted to use a digital camera, it was obvious he wanted the final product to look like film. That resonated with me, and we further explored what his thoughts were about grain structure and film emulation. We did a test, and he loved the results.
We also looked at a few images in a photo library he kept on his computer.
Markus is a technical connoisseur. He knew from the beginning where he was going with the look. After showing me a few photos, the main visual theme for Stonewall — a 1970s filmic look — transpired. We basically changed grain to emphasize a look that reflects the warm highlights and cool-ish lowlights of film, without feeling artificial.
At FotoKem, we have a team of experts overseen by our in-house color scientist Joseph Slomka, who spends a lot of time engineering solutions so that digital cameras look like film stocks. Joseph assisted us on this project, so when we started, we were on the right path and just had to fine tune along the way. Markus is also a big fan of anamorphic lenses, using the full anamorphic format on the Red Epic Dragon at 4K. And we finished the entire movie at 4K.
Have you previously worked with either of the filmmakers?
This was a first-time collaboration. They came to FotoKem because they wanted the convenience of finishing in Los Angeles. They saw my resume and that I had experience with film projects in the DI, and, as they say, the rest is history.
Stonewall is the story of an incredibly important event in history, highly charged politically and emotionally — were certain visual elements relied on to create certain moods in a scene or to convey the mood of a character?
I was not familiar with the Stonewall riots until this project came in. We established a certain look that becomes a little harsher when the riots ensue, and it’s a little smoother when happier events are taking place. It’s very subtle – not something you can see but rather feel. The tension in the movie wasn’t meant to be overpowering.
What tools were you working with? How did it help to enable your work?
We chose a Quantel Rio because we needed to finish in full 4K with full film emulation with grain layers, and at the time it was the best color correction tool for accomplishing this in realtime.
You mention the movie was shot on Red Epic Dragon. Did that affect how you worked or approached coloring scenes?
Markus was familiar with Red and knew how to light for the camera. On Stonewall, he exposed and lit to create some texture. With that strong visual foundation created by Markus’ photography, we were able to focus on the task at hand — to fine-tune the images in order to create the film look he and Roland wanted.
A colorist works at the intersection of art and science. How do you translate what a cinematographer says into pictures?
The first thing I do is get an understanding from the DP about his or her digital experience. DPs who have worked more heavily in the film format will be able to make reference points from using printer lights and being in a lab. They have a way to express what they want.
The process is scientific in that there is only so much a colorist can do to bring the original material where they want it, and the artistry lies within how much further the DP wants to go with it. The work in the suite can become almost visceral. It’s usually expressed as a feeling — I want it to feel this way — and then I decide which tool will best accomplish that. I don’t rely heavily on controls and buttons. I’m a minimalist and bring that predisposition to the suite.
How do you know when you have gotten to where you want to be, and where the filmmakers want to be?
When the material comes to me in great shape, with good lighting and captured as close as possible to the intentions of the filmmakers, my job is to not mess it up!
Do you have any advice for someone who wants to become a colorist?
There are two approaches to color. You can use color to represent reality or emotions, or a blend of the two. For colorists inclined to being a realist, I’d tell them to learn how to represent that within the limits of their display. They should start in black and white — or work on a black and white short film. With the influx of a younger generation of colorists, I’ve noticed they are prone to using color to represent emotions, and they tend to make strong color choices.
I’d recommend to anyone who wants to be a colorist to look at what other people do and understand how light works, and how the camera and display (monitor) react to light. Then they should practice achieving a particular look with the minimum amount of tools. There are many fabulous places where colorists can learn the craft, but to be proficient a basic understanding of color science will go a long way.
Lastly, it’s the colorist’s job to bring the vision of the DP to the screen — not just to make a pretty picture. To do that, you need to learn to understand what’s inside the mind of the artist.
Stonewall is in theaters now.