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).
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.”
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.