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Category Archives: Cinematography

Bernie Su: Creator of Twitch’s live and interactive show, Artificial

By Randi Altman

Thanks to today’s available technology, more and more artists are embracing experimental storytelling. One of those filmmakers is Bernie Su, creator, executive producer and director on the Twitch series, Artificial.

Bernie Su

Artificial, which won Twitch its first Primetime Emmy for “Outstanding Innovation in Interactive Media, features a doctor and his “daughter — a human-looking artificial intelligence creation named Sophie. Episodes air live with actors reacting to audience input in realtime. This is later edited into clips that live on Twitch.

The unique live broadcast and “choose your own adventure” factors created a need for a very specific workflow. We reached out to Su to talk about the show, his workflow and his collaboration with show editor Melanie Escano.

Where did the idea for Artificial come from, and what was its path to its production?
The original story came from my co-creator Evan Mandery. When we partnered, we looked at how we could present it in an innovative way. We identified Twitch pretty early in the process as a place to really push some groundbreaking storytelling methods. What would an original series on Twitch look like? What makes it Twitch and not Amazon video (Amazon owns Twitch by the way)? Once we pitched it to Twitch it was all systems go.

Can you talk about what it’s shot on and how you work with your DP to get the look you were after?
We shot on Panasonic Lumix GH4 cameras. We kept it pretty simple. DP Allen Ho and I have worked together a lot, and we tried to make Artificial feel real-yet-polished. Because we were on Twitch and that’s a platform where everything is livestreamed, we wanted it to feel like a real livestream yet have touches of a cinematic look. Every scene we shot in our show… we would always discuss why the camera is even there in the first place and how the characters react to them. The show called Artificial had to feel immersive.

Were you at all intimated by the interactive aspect of the show?
Nervous but not intimidated. I’ve done several interactive shows, but the live element is a different animal. A live interactive series is built around chaos, and if you aren’t embracing that chaos that the audience is going to throw at you, then you shouldn’t be making a live interactive series.

What went into making this interactive? Can you talk about the challenges and how you overcame those?
Well the first step is figuring how you’re building the audience into the story while still maintaining an arc. The second is how you make that audience consequential. You can always let the audience choose something non-consequential, like should someone drink tea or coffee.

Yes the audience made a choice, but it’s not consequential to the story. Now when we have the audience choose what a character’s relationship to another will be, or even if a relationship will end or not, now you’re letting the audience play with fire, and once they do it’s our responsibility to honor the consequences of that. The simplest way I can describe our solution is that we as the storytellers accepted every result we presented. We dared the audience to play with fire and if they burned a character, then that’s the consequences.

Your team used Adobe Creative Cloud to make this a reality. Can you talk about that and how you worked with your editor and post team? How involved were you?
Oh yeah, Premiere, Photoshop, After Effects and Audition were all in play for us. We don’t have a big team, but we have an incredibly versatile team. Any of us could comfortably jump into several of those tools and be able to knock something out quickly. We were all about speed and efficiency.

Once we got the systems in place, I wanted to stay at a very high level and let my team play. I trust them, if I didn’t, they wouldn’t be on my team. Co-producer Jen Enfield-Kane worked closely with our editor Melanie Escano and our writer/sound editor Micah McFarland. They would go back and forth with cuts and mixes. Then upon approval, it would go to creative producer Rachel Williams, who could implement final effects for broadcast. If everything is going smoothly, then we’re good to go.

But because of the speed of weekly broadcasts consisting of 30 to 45 minutes of edited content a week, and the fact that the post-team is literally four people, there were many times that someone would have to assist, and that’s fine. That’s what a great team does.

How did you work with the editor, specifically? What was your workflow?
Pretty straight forward. When you’re innovating in the live format, you purposely make the post system as simple and easy as possible. If the show is chaotic, you don’t want your post to be that. Melanie would do a rough pass using the script supervisor notes, Jen would give her notes on that and she would come back with another cut. After that, they might discuss color correction on a particular scene and get that done but that was rare. We always kept it simple.

Where can people go to experience Artificial?
Please visit https://www.twitch.tv/artificialnext.

Colorist Chat: Scott Ostrowsky on Amazon’s Sneaky Pete

By Randi Altman

Scott Ostrowsky, senior colorist at Deluxe’s Level 3 in Los Angeles has worked on all three seasons of Amazon’s Sneaky Pete, produced by Bryan Cranston and David Shore and starring Giovanni Ribisi. Season 3 is the show’s last.

For those of you unfamiliar with the series, it follows a con man named Marius (Ribisi), who takes the place of his former cell-mate Pete and endears himself to Pete’s seemingly idyllic family while continuing to con his way through life. Over time he comes to love the family, which is nowhere as innocent as they seem.

Scott Ostrowsky

We reached out to this veteran colorist to learn more about how the look of the series developed over the seasons and how he worked with the showrunners and DPs.

You’ve been on Sneaky Pete since the start. Can you describe how the look has changed over the years?
I worked on Seasons 1 through Season 3. The DP for Season 1 was Rene Ohashi and it had somewhat of a softer feel. It was shot on a Sony F55. It mostly centered around the relationship of Bryan Cranston’s character and Giovanni Ribisi’s newly adopted fake family and his brother.

Season 2 was shot by DPs Frank DeMarco and William Rexer on a Red Dragon, and it was a more stylized and harsher look in some ways. The looks were different because the storylines and the locations had changed. So, even though we had some beautiful, resplendent looks in Season 2, we also created some harsher environments, and we did that through color correction. Going into Season 2, the storyline changed, and it became more defined in the sense that we used the environments to create an atmosphere that matched the storyline and the performances.

An example of this would be the warehouse where they all came together to create the scam/ heist that they were going to pull off. Another example of this would be the beautiful environment in the casino that was filled with rich lighting and ornate colors. But there are many examples of this through the show — both DPs used shadow and light to create a very emotional mood or a very stark mood and everything in between.

Season 3 shot by Arthur Albert and his son, Nick Albert on a Red Gemini, and it had a beautiful, resplendent, rich look that matched the different environments when it moved from the cooler look of New York to the more warm, colorful look in California.

So you gave different looks based on locale? 
Yes, we did. Many times, the looks would depend on time of day and the environment that they were in. An example of this might be the harsh fluorescent green in the gas station bathroom where Giovanni’s character is trying to figure out a way to help his brother and avoid his captures.

How did you work with the Alberts on the most recent season?
I work at Level 3 Post, which is a Deluxe company. I did Season 1 and 2 at the facility on the Sony lot. Season 3 was posted at Level 3. Arthur and Nick Albert came in to my color suite with the camera tests shot on the Red Gemini and also the Helium. We set up a workflow based on the Red cameras and proceeded to grade the various setups.

Once Arthur and Nick decided to use the Gemini, we set up our game plan for the season. When I received my first conform, I proceeded to grade it based on our conversations. I was very sensitive to the way they used their setups, lighting and exposures. Once I finished my first primary grade, Arthur would come in and sit with me to watch the show and make any changes. After Arthur approved the grade, The producers and showrunner would come in for their viewing. They could make any additional changes at that time. (Read our interview with Arthur Albert here.)

How do you prefer to work with directors/DPs?
The first thing is have conversation with them on their approach and how they view color as being part of the story they want to tell. I always like to get a feel for how the cinematographer will shoot the show and what, if any, LUTs they’re using so I can emulate that look as a starting point for my color grading.

It is really important to me to find out how a director envisions the image he or she would like to portray on the screen. An example of this would be facial expressions. Do we want to see everything or do they mind if the shadow side remains dark and the light falls off.

A lot of times, it’s about how the actors emote and how they work in tandem with each other to create tension, comedy or other emotions — and what the director is looking for in these scenes.

Any tips for getting the most out of a project from a color perspective?
Communication. Communication. Communication. Having an open dialogue with the cinematographer, showrunners and directors is extremely important. If the colorist is able to get the first pass very close, you spend more time on the nuisances rather than balancing or trying to find a look. That is why it is so important to have an understanding of the essence of what a director, cinematographer and showrunner is looking for.

How do you prefer the DP or director to describe their desired look?
However they’re comfortable in enlightening me to their styles or needs for the show is fine. Usually, we can discuss this when we have a camera test before principal photography starts. There’s no one way that you can work with everybody — you just adapt to how they work. And as a colorist, it’s your job to make that image sing or shine the way that they intended it to.

You used Resolve on this. Is there a particular tool that came in handy for this show?
All tools on the Resolve are useful for a drama series. You would not buy the large crayon box and throw out colors you didn’t like because, at some point, you might need them. I use all tools — from keys, windows, log corrections and custom curves to create the looks that were needed.

You have been working in TV for many years. How has color grading changed during that time?
Color correction has become way more sophisticated over the years, and is continually growing and expanding into a blend of not only color grading but helping to create environments that are needed to express the look of a show. We no longer just have simple color correctors with simple secondaries; the toolbox continues to grow with added filters, added grain and sometimes even helping to create visual effects, which most color correctors are able to do today.

Where do you find inspiration? Art? Photography?
I’ve always loved photography and B&W movies. There’s a certain charm or subtlety that you find in B&W, whether it’s a film noir, the harshness of film grain, or just the use of shadow and light. I’ve always enjoyed going to museums and looking at different artists and how they view the world and what inspires them.

To me, it’s trying to portray an image and have that image make a statement. In daily life, you can see multiple examples as you go through your day, and I try and keep the most interesting ones that I can remember in my lexicon of images.


Randi Altman is the founder and editor-in-chief of postPerspective. She has been covering production and post production for more than 20 years. 

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Good Company adds director Daniel Iglesias Jr.

Filmmaker Daniel Iglesias Jr., whose reel spans narrative storytelling to avant-garde fashion films with creativity and an eccentric visual style, has signed with full-service creative studio Good Company.

Iglesias’ career started while attending Chapman University’s renowned film school, where he earned a BFA in screen acting. At the same time, Iglesias and his friend Zack Sekuler began crafting images for his friends in the alt-rock band The Neighbourhood. Iglesias’ career took off after directing his first music video for the band’s breakout hit “Sweater Weather,” which reached over 310 million views. He continues working behind the camera for The Neighbourhood and other artists like X Ambassadors and AlunaGeorge.

Iglesias uses elements of surrealism and a blend of avant-garde and commercial compositions, often stemming from innovative camera techniques. His work includes projects for clients like Ralph Lauren, Steve Madden, Skyy Vodka and Chrysler and the Vogue film Death Head Sphinx.

One of his most celebrated projects was a two-minute promo for Margaux the Agency. Designed as a “living magazine,” Margaux Vol 1 merges creative blocking, camera movement and effects to create a kinetic visual catalog that is both classic and contemporary. The piece took home Best Picture at the London Fashion Film Festival, along with awards from the Los Angeles Film Festival, the International Fashion Film Awards and Promofest in Spain.

Iglesias’ first project since joining Good Company was Ikea’s Kama Sutra commercial for Ogilvy NY, a tongue-in-cheek exploration of the boudoir. Now he is working on a project for Paper Magazine and Tiffany.

“We all see the world through our own lens; through film, I can unscrew my lens and pop in onto other people and, by effect, change their point of view or even the depth of culture,” he says. “That’s why the medium excites me — I want to show people my lens.”

We reached out to Iglesias to learn a bit more about how he works.

How do you go about picking the people you work with?
I do have a couple DPs and PDs I like to work with on the regular, depending on the job, and sometimes it makes sense to work with someone new. If it’s someone new that I haven’t worked with before, I typically look at three things to get a sense of how right they are for the project: image quality, taste and versatility. Then it’s a phone call or meeting to discuss the project in person so we can feel out chemistry and execution strategy.

Do you trust your people completely in terms of what to shoot on, or do you like to get involved in that process as well?
I’m a pretty hands-on and involved director, but I think it’s important to know what you don’t know and delegate/trust accordingly. I think it’s my job as a director to communicate, as detailed and effectively as possible, an accurate explanation of the vision (because nobody sees the vision of the project better than I do). Then I must understand that the DPs/PDs/etc. have a greater knowledge of their field than I do, so I must trust them to execute (because nobody understands how to execute in their fields better than they do).

Since Good Company also provides post, how involved do you get in that process?
I would say I edit 90% of my work. If I’m not editing it myself, then I still oversee the creative in post. It’s great to have such a strong post workflow with Good Company.


Colorist Joanne Rourke grades Netflix horror film In the Tall Grass

Colorists are often called on to help enhance a particular mood or item for a film, show or spot. For Netflix’s In the Tall Grass — based on a story from horror writers Stephen King and Joe Hill — director Vincenzo Natali and DP Craig Wrobleski called on Deluxe Toronto’s Joanne Rourke to finesse the film’s final look using color to give the grass, which plays such a large part in the film, personality.

In fact, most of the film takes place in a dense Kansas field. It all begins when a brother and his pregnant sister hear a boy’s cries coming from a field of tall grass and go to find him. Soon they realize they can’t escape.

Joanne Rourke

“I worked with Vincenzo more than 20 years ago when I did the video mastering for his film Cube, so it was wonderful to reconnect with him and a privilege to work with Craig. The color process on this project was highly collaborative and we experimented a lot. It was decided to keep the day exteriors natural and sunny with subtle chromatic variations between. While this approach is atypical for horror flicks, it really lends itself to a more unsettling and ominous feeling when things begin to go awry,” explains Rourke.

In the Tall Grass was principally shot using the ARRI Alexa LF camera system, which helped give the footage a more immersive feeling when the characters are trapped in the grass. The grass itself comprised a mix of practical and CG grass that Rourke adjusted the color of depending on the time of day and where the story was taking place in the field. For the night scenes, she focused on giving the footage a silvery look while keeping the overall look as dark as possible with enough details visible. She was also mindful to keep the mysterious rock dark and shadowed.

Rourke completed the film’s first color pass in HDR, then used that version to create an SDR trim pass. She found the biggest challenge of working in HDR on this film to be reining in unwanted specular highlights in night scenes. To adjust for this, she would often window specific areas of the shot, an approach that leveraged the benefits of HDR without pushing the look to the extreme. She used Blackmagic Resolve 15 along with the occasional Boris FX Sapphire plugins.

“Everyone involved on this project had a keen attention to detail and was so invested in the final look of the project, which made for such great experience,” says Rourke. “I have many favorite shots, but I love how the visual of the dead crow on the ground perfectly captures the silver feel. Craig and Vincenzo created such stunning imagery, and I was just happy to be along for the ride. Also, I had no idea that head squishing could be so gleeful and fun.”

In the Tall Grass is now streaming on Netflix.


Color grading IT Chapter Two’s terrifying return

In IT Chapter Two, the kids of the Losers’ Club are all grown up and find themselves lured back to their hometown of Derry. Still haunted both by the trauma that monstrous clown Pennywise let loose on the community and by each one’s own unique insecurities, the group (James McAvoy, Jessica Chastain, Bill Hader) find themselves up against even more terrifying forces than they faced in the first film, IT.

Stephen Nakamura

IT Chapter Two director Andy Muschietti called on cinematographer Checco Varese and colorist Stephen Nakamura of Company 3. Nakamura returned to the franchise, performing the final color grade at Efilm in Hollywood. “I felt the first one was going to be a big hit when we were working on it, because these kids’ stories were so compelling and the performances were so strong. It was more than just a regular horror movie. This second one, in my opinion, is just as powerful in terms of telling these characters’ stories. And, not surprisingly, it also takes the scary parts even further.”

According to Nakamura, Muschietti “is a very visually oriented director. When we were coloring both of the films, he was very aware of the kinds of things we can do in the DI to enhance the imagery and make things even more scary. He pushed me to take some scenes in Chapter Two in directions I’ve never gone with color. I think it’s always important, whether you’re a colorist or a chef or a doctor, to always push yourself and explore new aspects of your work. Andy’s enthusiasm encouraged me to try new approaches to working in DaVinci Resolve. I think the results are very effective.”

For one thing, the technique he used to bring up just the light level in the eyes of the shapeshifting clown Pennywise got even more use here because there were more frightening characters to use it on. In many cases, the companies that created the visual effects also provided mattes that let Nakamura easily isolate and adjust the luminance of each individual eye in Resolve. When such mattes weren’t available, he used Resolve to track each eyeball a frame at a time.

“Resolve has excellent tracking capabilities, but we were looking to isolate just the tiny whites of the characters’ eyes,” Nakamura explains, “and there just wasn’t enough information to track.” It was meticulous work, he recalls, “but it’s very effective. The audience doesn’t consciously know we’re doing anything, but it makes the eyes brighter in a very strange way, kind of like a cat’s eyes when they catch the light. It really enhances the eerie feeling.”

In addition, Nakamura and the filmmakers made use of Resolve’s Flicker tool in the OpenFX panel to enhance the flickering effect in a scene involving flashing lights, taking the throbbing light effects further than they did on set. Not long ago, this type of enhancement would have been a more involved process in which the shots would likely be sent to a visual effects house. “We were able to do it as part of the grading, and we all thought it looked completely realistic. They definitely appreciated the ability to make little enhancements like that in the final grade, when everyone can see the scenes with the grade in context and on a big screen.”

Portions of the film involve scenes of the Losers’ Club as children, which were comprised of newly shot material (not cut in from the production of the first It). Nakamura applied a very subtle amount of Resolve’s mid-tone detail tool over them primarily to help immediately and subliminally orient the audience in time.

But the most elaborate use of the color corrector involved one short sequence in which Hader’s character, walking in a local park on a pleasant, sunny day, has a sudden, terrifying interaction with a very frightening character. The shots involved a significant amount of CGI and compositing work, which was completed at several effects houses. Muschietti was pleased with the effects work, but he wanted Nakamura to bring in an overall quality to the look of the scene that made it feel a bit more otherworldly.

Says Nakamura, “Andy described something that reminded me of the old-school, two-strip color process, where essentially anything red would get pushed into being a kind of magenta, and something blue or green would become a kind of cyan.”

Nakamura, who colored Martin Scorsese’s The Aviator (shot by Robert Richardson, ASC), had designed something at that point to create more of a three-strip look, but this process was more challenging, as it involved constraining the color palette to an even greater degree — without, of course, losing definition in the imagery.

With a bit of trial and error, Nakamura came up with the notion of using the splitter/combiner node and recombined some nodes in the output, forcing the information from the green channel into the red and blue channels. He then used a second splitter/combiner node to control the output. “It’s almost like painting a scene with just two colors,” he explains. “Green grass and blue sky both become shades of cyan, while skin and anything with red in it goes into the magenta area.”

The work became even more complex because the red-haired Pennywise also makes an appearance; it was important for him to retain his color, despite the rest of the scene going two-tone. Nakamura treated this element as a complex chroma key, using a second splitter/combiner node and significantly boosting the saturation just to isolate Pennywise while preventing the two-tone correction from affecting him.

When it came time to complete the pass for HDR Dolby Cinema — designed for specialty projectors capable essentially of displaying brighter whites and darker blacks than normal cinema projectors — Muschietti was particularly interested in the format’s treatment of dark areas of the frame.

“Just like in the first one,” Nakamura explains, “we were able to make use of Dolby Cinema to enhance suspense. People usually talk about how bright the highlights can be in HDR. But, when you push more light through the picture than you do for the P3 version, we also have the ability to make shadowy areas of the image appear even darker while keeping the details in those really dark areas very clear. This can be very effective in a movie like this, where you have scary characters lurking in the shadows.

“The color grade always plays some kind of role in a movie’s storytelling,” Nakamura sums up, “but this was a fun example of how work we did in the color grade really helped scare the audience.”

You can check out our Q&A with Nakamura about his work on the original IT.


DP Chat: Late Night cinematographer Matthew Clark

Directed by Nisha Ganatra, Amazon Studios’ comedy Late Night stars Emma Thompson as Katherine, a famous talk show host who hires Molly, her first-ever female writer (played by Mindy Kaling, who also wrote the screenplay).

Ganatra — whose rich directing background includes Transparent, Brooklyn Nine-Nine, Fresh Off the Boat and Chutney Popcorn — worked closely with her, DP Matthew Clark. The two were students together at NYU’s Tisch School of the Arts. Clark’s credits include Pitch Perfect 3, Up All Night and 30 Rock, among many others.

Matthew Clark

Clark has said that one of the toughest tasks in shooting comedy is to make it look and feel natural for the audience while allowing the space for them to laugh. “The visuals must have some depth to them but you need to let the actors work things out on screen,” he explains. “That was a big part for this film knowing the way Nisha likes to work. She’s visual but she’s also very actor-oriented, so one of the things I wanted to do was make our technical footprint as small as possible to give the actors room to work and to find those comic moments.”

For Late Night, Clark describes the look as “heightened naturalism.” He created a look book of images from still photographers, including Gregory Crewdson (artificial reality) and Robert Frank (super naturalism). He also worked with Light Iron colorists Corinne Bogdanowicz in Los Angeles and Sean Dunckley in New York to develop the look during prep. “There were three distinct kind of looks we wanted,” describes Clark. “One was for Katherine’s home, which was more elegant with warm tones. The television studio needed to be crisp and clean with more neutral tones. and for the writers’ room office, the look was more chaotic and business-like with blue or cooler tones.”

We recently reached out to Clark with a few questions designed to learn more about his work on the film and his most recent collaboration with Ganatra.

How would you describe the overarching look of the film? What did you and the director want to achieve? You’ve described it as heightened naturalism. Can you expand on that?
Nisha and I wanted a sophisticated look without being too glamorous. We started off looking at the story, the locations and the ideas that go along with placing our characters in those spaces — both physically and emotionally. Comedy is not easy in that regard. It can be easy to go from joke to joke, but if you want something layered and something that lasts in the audience’s mind, you have to ground the film.

So we worked very hard to give Nisha and the actors space to find those moments. It meant less lighting and a more natural approach. We didn’t back away completely though. We still used camera and light to elevate the scenes and accentuate the mood; for example, huge backlight on the stage, massive negative space when we find out about Katherine’s betrayal or a smoke-filled room as Katherine gives up. That’s what I mean by “heightened naturalism.”

How did Ganatra describe the look she wanted?
Nisha and I started going over looks well before prep began. We talked photos and films. Two of our favorites photographers are William Eggleston and Philip-Lorca DiCorsia. So I was ahead of the game when the official prep started. There was a definite shorthand. Because of that, I was able to go to Light Iron in LA and work out some basic looks for the film — overall color, highlights, shadow detail/color, grain, etc. We wanted three distinct looks. The rest would fall into place.

Katherine’s home was elegant and warm. The writers’ office was cool and corporate. The talk show’s studio was crisper and more neutral. As you know, even at that point, it’s just an idea unless you have your camera, lenses, etc.

Can you talk about the tools you chose?
Once prep started, I realized that we would need to shed some weight to accomplish our days due to very few extra days for rigging and the amount of daily company moves. So we went without a generator and took advantage of the 5000 ISO Panasonic VariCam 35 in conjunction some old, beautiful Panavision UltraSpeeds and Super Speeds.

That lens choice came after I sat with Dan Sasaki and told him what I was going for. He knew I was a fan of older lenses having used an old set of Baltars and similar Ultras on my last movie. I think they take the digital edge off of the sensor and can provide beautiful anomalies and flares when used to achieve your look. Anyway, I think he emptied out the closets at the Woodland Hills location and let us test everything. This was very exciting for a DP.

What makes the process a smooth one for you?
I think what got me started, artistic inspiration and rules/process, all stem from the same thing. The story, the telling, the showing and the emotion. The refined and the raw. It sounds simple. but for me, it is true.

Always try to serve the story; don’t get tied to the fancy new thing or the splashy piece of equipment. Just tell the story. Sometimes, those things coincide. But, always tell a story.

Where do you find inspiration for your work?
I think inspiration for each project comes from many different sources — music, painting, photography, a walk in the afternoon, a sound. That’s very vague, I know, but we have to be open to the world and draw from that. Obviously, it is crucial to spend time with the director — to breathe the same air, so to speak. That’s what puts me on the path and allows me to use the inspirations that fit the film.

Main Image: Matthew Clark and director Nisha Ganatra.


Wildlife DP Steve Lumpkin on the road and looking for speed

For more than a decade, Steve Lumpkin has been traveling to the Republic of Botswana to capture and celebrate the country’s diverse and protected wildlife population. As a cinematographer and still photographer, Under Prairies Skies Photography‘s Lumpkin will spend a total of 65 days this year filming in the bush for his current project, Endless Treasures of Botswana.

Steve Lumpkin

It’s a labor of love that comes through in his stunning photographs, whether they depict a proud and healthy lioness washed with early-morning sunlight, an indolent leopard draped over a tree branch or a herd of elephants traversing a brilliant green meadow. The big cats hold a special place in Lumpkin’s heart, and documenting Botswana’s largest pride of lions is central to the project’s mission.

“Our team stands witness to the greatest conservation of the natural world on the planet. Botswana has the will and the courage to protect all things wild,” he explains. “I wanted to fund a not-for-profit effort to create both still images and films that would showcase The Republic of Botswana’s success in protecting these vulnerable species. In return, the government granted me a two-year filming permit to bring back emotional, true tales from the bush.”

Lumpkin recently graduated to shooting 4K video in the bush in Apple ProRes Raw, using a Sony FS5 camera and an Atomos Inferno recorder. He brings the raw footage back to his US studio for post, working in Apple Final Cut Pro on an iMac 5K and employing a variety of tools, including Color Grading Central and Neat Video.

Leopard

Until recently, Lumpkin was hitting a performance snag when transferring files from his QNAP TBS 882T NAS storage system to his iMac Pro. “I was only getting read times of about 100 Mb/sec from Thunderbolt, so editing 4K footage was painful,” he says. “At the time, I was transitioning to ProRes RAW, and I knew I needed a big performance kick.”

On the recommendation of Bob Zelin, video engineering consultant and owner of Rescue 1, Lumpkin installed Sonnet’s Solo10G Thunderbolt 3 adapter. The Solo10G uses the 10GbE standard to connect computers via Ethernet cables to high-speed infrastructure and storage systems. “Instantly, I jumped to a transfer rate of more than 880MB per second, a nearly tenfold throughput increase,” he says. “The system just screams now – the Solo10G has accelerated every piece of my workflow, from ingest to 4K editing to rendering and output.”

“So many colleagues I know are struggling with this exact problem — they need to work with huge files and they’ve got these big storage arrays, but their Thunderbolt 2 or 3 connections alone just aren’t cutting it.”

With Lumpkin, everything comes down to the wildlife. He appreciates any tools that help streamline his ability to tell the story of the country and its tremendous success in protecting threatened species. “The work we’re doing on behalf of Botswana is really what it’s all about — in 10 or 15 years, that country might be the only place on the planet where some of these animals still exist.

“Botswana has the largest herd of elephants in Africa and the largest group of wild dogs, of which there are only about 6,000 left,” says Lumpkin. “Products like Sonnet’s Solo10G, Final Cut, the Sony FS5 camera and Atomos Inferno, among others, help our team celebrate Botswana’s recognition as the conservation leader of Africa.”


Michael Engler on directing Downton Abbey movie

By Iain Blair

If, like millions of other fans around the world, you still miss watching the Downton Abbey series, don’t despair. The acclaimed show is back as a new feature film, still showcasing plenty of drama, nostalgia, glamour and good British values with every frame.

So sit back in a comfy armchair, grab a cup of tea (assuming you don’t have servants to fetch it for you) and forget about the stresses of modern life. Just let Downton Abbey take you back to a simpler time of relative innocence and understated elegance.

Director Michael Engler

The film reunites the series’ cast (including Hugh Bonneville, Jim Carter, Michelle Dockery, Elizabeth McGovern, Maggie Smith) and also adds some new members. The film starts with a simple but effective plot device, a visit to the Great House from the most illustrious guests the Crawley family could ever hope to entertain — their Majesties King George V and Queen Mary. With a dazzling parade and lavish dinner to orchestrate, Mary (Dockery), now firmly at the reins of the estate, faces the greatest challenge to her tenure as head of Downton.

At the film’s helm was TV and theater director Michael Engler, whose diverse credits include 30 Rock, Empire, Deadwood, Nashville, Unbreakable Kimmy Schmidt and several episodes of the series Downton Abbey.

I recently talked to him about making the film, its durable appeal and the workflow.

You directed one episode in the fifth season of the TV show and then a few in the final season. How daunting was it making a film of such a beloved show?
It was very daunting, especially as people have such high expectations. They love it so much, so you feel you really have to deliver. You can’t disappoint them. But basically, you’re pretty lucky in life and in your career when those are your big problems. Then you also have the advantage of this amazing cast, who know their characters so well, and Julian (Fellowes, the series creator), who loves writing these characters. We’ve all developed such a good working rhythm together, and all that really helped so much. Because of the huge fan base, it’s not like so many projects where you’re trying to get audiences to pay attention. They’re already very invested in it, and I’d far rather have that than the worry of directing an unknown project.

What were the big differences between shooting the series and the movie?
The big one was the need to ramp it up, even though the TV series was always ambitious cinematically, and we knew that the template would be a good one to build on. The DNA of the show was a good foundation. For instance, one of the things we discovered very quickly, even shooting intimate scenes of a few people in a bedroom or a drawing room, it would be full-scale. We could hold the shots longer and see everyone’s reactions in a big wide shot. We didn’t have to emphasize plot points with a lot of cutting as you’d do in TV. We could let the rooms play in full size for a while, and that automatically made it all feel bigger and richer. It almost feels like you’re in those rooms, and you get the whole visual sweep of their grandeur.

Then the royal visit gave us some tremendous opportunities with all the lavish set pieces — the arrival, the banquet, the parade, the ball — to really show them fully and showcase the huge scale of them. In the series, more often than not, you’d imply the sheer scale of such events and focus more on details and pieces of them. I think the series was more realistic and objective in many ways, more “on the ground” and real and undecorated. It is more understated. The film is far more sweeping, with more camera movement. It’s elevated for the big screen.

Was it a plus being an American? Did it give you a fresh perspective?
I was already such a big fan when I began working on the series, and I’d seen many of the episodes several times, so I did feel I knew it and understood it well. But then there was a lot of the protocol and etiquette that I didn’t know, so I studied and learned as much as I could and consulted with a historical advisor. After that, I quickly felt very much at home in this world.

How tough was it juggling so many familiar characters — along with some new ones?
That was difficult, but mainly because of all the filming logistics and schedules. We had people flying in from all over — India, New York, California — maybe just for a day or two, so it was a big logistical puzzle to make it work out.

The film looks gorgeous. You used DP Ben Smithard, who shot Blinded by the Light and Goodbye Christopher Robin. Can you talk about how you collaborated with him on the look?
We wanted it to have a big, rich film feel and look, so we shot it in 6K. And Ben does such beautiful work with the lighting, which really helped take the edge off the digital look. He’s just so good at capturing the romance of all those great sweeping period films and the very different look between upstairs — which is all elegant, sparkly and light-filled — and downstairs, which is rougher, less refined and darker. There are a lot of tonal shifts, so we worked on all those visual contrasts, both in camera and in post and the DI.

L-R: Cinematographer Ben Smithard, director Michael Engler and producer Gareth Neame.

Where did you post?
We did all the editing at Hireworks in London with editor Mark Day and his team, and sound at Hackenbacker Studios and Abbey Road Studios, where we recorded with an orchestra twice as big as any we had on the series, which also elevated all the sound and music. Framestore did all the VFX.

Do you like the post process?
I absolutely love it. I like shooting, but it’s so stressful because of the ticking clock and a huge crew waiting while we fix something and the light is going down. Then you get into post, and it’s stress-free in that sense, and you can look at what you have and start playing with it and really be creative. You can leave for a few days and have a fresh perspective on it. You can’t do that on the set.

Talk about editing with Mark Day. How did that work?
We didn’t start cutting until after we wrapped, and we experimented quite a lot, trying to find the best way to tell all the stories. For instance, we took one scene that was originally early on, and moved it five scenes later, and it changed the entire meaning of it. So we tried a lot of that sort of thing. Then there are all the other post elements that work on a subconscious level, especially once you cut in all the tiny background sounds — voices in the distance, footsteps and so on, that help create and add to the reality of the visuals.

What were the big editing challenges?
The big one was taking the rhythms of the series and adjusting them for the film. In the series, it was far more broken up because all the different stories didn’t have to be finished by the end of an episode. There would be some cliffhangers while some would be resolved, so we could hop around a lot and break up scenes. But on this we found it was far more effective to stay with a storyline and let longer arcs play out and finish. That way the audiences would know exactly where they were if we left one story, went to another and then came back. Mark was very clear about that, keeping the main story moving forward all the time, while juggling all the side stories.

What was involved in all the visual effects?
More than you’d think. We had a big set piece at King’s Cross train station, which we actually shot at a tiny two-track station in the north of England. Framestore then created everything around it and built the whole world, and they did an amazing job. Then we had the big military parade, and they did a lot of work on the surroundings and the pub overlooking it. And, of course, we had a ton of cleanup and replacement background work, as it’s a period piece.

Talk about the importance of sound in this film.
As they say, it’s half the movie, and our supervising sound editor Nigel Heath was so thorough and detailed in his work. He also really understands how sound can help storytelling. In the scene where Molesley embarrasses himself, we played around with it a lot, thinking maybe it needed some music and so on. But when Nigel started on it, he kept it totally silent except for the sound of a ticking clock — and it was so perfect. It made the moment and silence that much more vivid, along with underscoring how time was dragging on. It heightened the whole thing. Sound is also so important downstairs in the house, where you feel this constant activity and work going on in every room, and all the small sounds and noises add so much weight and reality.

Where did you do the DI and how important is it to you?
We did the digital intermediate at Molinare with Gareth Spensley, and it’s hugely important to me, though the DP’s more involved. I let them do their work and then went through it with them and gave my notes, and we got quite detailed.

Did the film turn out the way you hoped?
Much better! I was worried it might feel too disjointed and not unified enough since there were so many plotlines and characters and tones to deal with. But in the end it all flowed together so well.

How do you explain the huge global appeal of Downton Abbey?
I think that, apart from the great acting and fascinating characters, the themes are so universal. It’s like a workplace drama and a family drama with all the complex relationships, and you get romance, emotion, suspense, comedy and then all the great costumes and beautiful locations. The nostalgia appeals to so many people, and the Brits do these period dramas just better than anyone else.

What’s next? Would you do another Downton movie?
I’d love to, if it happens. They’re all such lovely people to work with. Making movies is hard, but this was just such a wonderful experience.


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.


Colorist Chat: Technicolor’s Doug Delaney

Industry veteran Doug Delaney started his career in VFX before the days of digital, learning his craft from the top film timers and color scientists as well as effects supervisors.

Today he is a leading colorist and finisher at Technicolor, working on major movies including the recent Captain Marvel. We spoke to him to find out more about how he works.

NAME:Doug Delaney

TITLE:Senior Colorist

IN ADDITION TO CAPTAIN MARVEL, CANYOU NAME SOME RECENT PROJECTS YOU HAVE WORKED ON?
We have just wrapped on Showtime’s The Loudest Voice,which documented Fox News’ Roger Ailes and starred Russell Crow, Naomi Watts and Sienna Miller.

I also just had the immense pleasure of working with DP Cameron Duncan on Nat Geo’s thriller The Hot Zone. For that show we actually worked together early on to establish two looks — one for laboratory scenes taking place in Washington, DC, and another for scenes in central Africa. These looks were then exported as LUTs for dailies so that the creative intent was established from the beginning of shooting and carried through to finishing.

And earlier this year I worked on Love, Death & Robots, which just received two Emmy nominations, so big congrats to that team!

ARE YOU SOMETIMES ASKED TO DO MORE THAN JUST COLOR ON PROJECTS?
Yes, these days I tend to think of “colorists” as finishing artists — meaning that our suites are typically the last stop for a project and where everything comes together.

The technology we have access to in our suites continues to develop, and therefore our capabilities have expanded — there is more we can do in our suites that previously would have needed to be handled by others. A perfect example is visual effects. Sometimes we get certain shots in from VFX vendors that are well-executed but need to be a bit more nuanced — say it’s a driving scene against a greenscreen, and the lighting outside the car feels off for the time of day it’s supposed to be in the scene. Whereas we used to have to kick it back to VFX to fix, I can now go in and use the alpha channels and mattes to color-correct that imbalance.

And what’s important about this new ability is that in today’s demanding schedules and deadlines, it allows us to work collaboratively in real time with the creative rather than in an iterative workflow that takes time we often don’t have.

WHAT’S YOUR FAVORITE PART OF THE JOB?
The look development. That aspect can take on various conversations depending on the project. Sometimes it’s talking with filmmakers in preproduction, sometimes just when it gets to post, but ultimately, being part of the creative journey and how to deliver the best-looking show is what I love.

That and when the final playback happens in our room, when the filmmakers see for the first time all of the pieces of the puzzle come together with sound … it’s awesome.

ANY SUGGESTIONS FOR GETTING THE MOST OUT OF A PROJECT FROM A COLOR PERSPECTIVE?
Understanding that each project has a different relationship with the filmmaker, there needs to be transparency and agreement to the process amongst the director, DP, execs, etc. Whether a clear vision is established early on or they are open to further developing the look, a willingness to engage in an open dialogue is key.

Personally I love when I’m able to help develop the color pipeline in preproduction, as I find it often makes the post experience more seamless. For example, what aired on Strange Angel Season 2 was not far removed from dailies because we had established a LUT in advance and had worked with wardrobe, make-up and others to carry the look through. It doesn’t need to be complicated, but open communication and planning really can go a long way in creating a stunning visual identity and a seamless experience.

HOW DO YOU PREFER THE DP OR DIRECTOR TO DESCRIBE THE LOOK THEY WANT? PHYSICAL EXAMPLES, FILMS TO EMULATE, ETC.?
Physical examples — photo books, style sheets with examples of tones they like and things like that. But ultimately my role is to correctly interpret what it is that they like in what they are showing me and to discern if what they are looking for is a literal representation, or more of an inspiration to start from and massage. Again, the open communication and ability to develop strong working relationships — in which I’m able to discern when there is a direct ask versus a need versus an opportunity to do more and push the boundaries — is key to a successful project.

WHAT SYSTEM DO YOU WORK ON?
Baselight. I love the flexibility of the system and the support that the FilmLight team provides us, as we are constantly pushing the capabilities of the platform, and they continue to deliver.

WHERE CAN PEOPLE FIND YOU ON SOCIAL MEDIA
@colorist_douglasdelaney

DP Chat: Peaky Blinders‘ Si Bell ramps up the realism for Season 5

By Randi Altman

UK-based cinematographer Si Bell is known for his work on the critically acclaimed feature films Electricity (2015), In Darkness (2019) and Tiger Raid (2016), as well as high-profile TV shows such as Fortitude, Hard Sun, Britannia and Ripper Street. He is currently working on the new Steven Knight drama special, A Christmas Carol.

Si Bell

He also shot the new season of Peaky Blinders, which begins airing on BBC One on August 25 and then makes its way to Netflix on October 4. Peaky Blinders takes place in Birmingham, England not long after World War I, and follows the Shelby family and its mafia-like business. The show is often dark, brutally violent and completely compelling. It stars Cillian Murphy as Thomas Shelby.

We recently reached out to Bell to ask him about his work on this current season of the edgy crime drama, followed by a look at his career in cinematography.

Tell us about Peaky Blinders Season 5. How early did you get involved in planning for the season? What direction did the showrunners give you about the look they wanted this season?
I got involved pretty early on and ended up having over 10 weeks prep, which is a long time for a TV show. I worked closely with Anthony Byrne, our director, whom I know very well. As the scripts came in, we began to discuss and plan how we were going to tackle the story.

I met with the showrunners early on as well, and they really loved the work Anthony and I had done in the past together on the movie In Darkness and on Ripper Street. Anthony is a very visual director and they trusted us both, so that was really amazing. They wanted us to do Peaky but also to bring our own style and way of working to the table. We were massive fans of the show and had big respect for what the previous directors and cinematographers had done. We knew we had big shoes to fill!

How would you describe the look?
I would describe the Peaky Blinders look as very stylized and larger than life. Lighting wise, it’s known for beams of light, smoke and atmosphere and an almost theatrical look with over cranked camera moves and speed ramps. I wanted to push some realism into the show and not make things quite as theatrical this season yet still keep that Peaky vibe. Tommy (Cillian Murphy) is battling with himself and his own demons more than anyone else in our story.

I wanted to try and show this with the lighting and the camera style. We also tried to use more developing shots in certain scenes to put the audience right in the center of the action and create this sense of visceral realism. We tried to motivate every decision based on how to tell the story in the best and most powerful way to bring out the emotional aspects and really connect with audience.

How did you work with the directors and colorist to achieve the intended look?
I used my DIT James Shovlar to create a look on set for the offline edit and we used that as a starting point for the grade. Then Anthony and I worked with grader Paul Staples at Deluxe in London, whom we had worked with on Ripper Street, and from the reference grade Paul created the finished look. Paul really understood where we wanted to take it, and I’m really pleased with how it turned out. We didn’t want it to feel too pushed but we still wanted it to look like Peaky Blinders.

Where was it shot, and how long was the shoot?
We shot around the northwest of England. We were based mainly in Manchester where we built a number of sets, including the Garrison, Houses of Parliament and Shelby HQ. We also shot in Birmingham, Liverpool, Rochdale and Bradford. We shot 16 five-day weeks in total.

How did you go about choosing the right camera and lenses for this project?
We had to shoot 4K, so the standard ARRI Alexa was off the table. A friend of mine, Sam McCurdy, BSC, had mentioned he had been shooting on the new Red Monstro and said he was really blown away by the images. I tested it and thought it was perfect for us. We coupled that with Cooke Anamorphic lenses and delivered in a 2:1 ratio.

Can you describe the lighting?
The lighting is a big part of Peaky Blinders, and it had to be right. My gaffer Oliver Whickman and I used our prep time to draw up detailed lighting plans, which included all of our machine and rigging requirements. We had 91 different lighting diagrams, and because we were scouting and planning the whole six episodes, it was very important that everything had to be written down in a clear, accurate way that could be passed on to our rigging crews.

We were scouting in September 2018, but some of the locations we weren’t shooting until January 2019 and we weren’t going to come back to them because we were so busy shooting. Oliver used the Shot Designer app to make the plans and we made printed books for the rigging gaffer and our best boy Alan Millar. It was certainly the most technically difficult job I have ever done in terms of planning, but everything went very smoothly.

Are there any scenes that you are particularly proud of or found most challenging?
There were many challenging scenes and sets. I’m really pleased how the opening sequence in Chinatown turned out. Also, there’s a big sequence set around a ballet, and I loved how that came together. I thought the design was great, with all the practicals that our designer Nicole Northridge installed in the set. There’s so much in this series, it’s hard to mention one thing.

I’m very proud of all our team. Everyone worked so hard and put so much into it, and I really think it shows. My camera operator Andrew Fletcher, focus puller Tom Finch and key grip Paul Kemp provided exceptional talent to the project. Not only are they great friends, they are the best of the best at what they do and I’m very proud of everything they did on Peaky.

Now let’s dig into some general DP questions. How did you become interested in cinematography?
I used to make skate videos, and then I studied photography in college and started to get interested in the idea of making films. I studied film production at university, and then started to work as a camera trainee once I left. At first I thought I wanted to be a director and made some short films, but after training under some great DPs — Sam McCurdy, BSC, and Lol Crawley, BSC — I realized that’s what I wanted to do, so I started shooting as much as I could and went from there.

What inspires you artistically? And how do you simultaneously stay on top of advancing technology?
I am inspired by watching movies or TV with great stories. I’m also inspired by working with talented people, great directors, great producers and people with a great passion for what they do. Peaky Blinders was massively inspiring as we got to work with some of the greatest actors of our age who are at the top of their game. Working at that level, you need to up your game and that also was massively inspiring.

I always stay on top of new technology by going to trade shows and reading trade magazines.

What new technology has changed the way you work?
I think the camera getting smaller has been the biggest change, as we can use drones, Trinity rigs and other gimbals to move the camera in ways we could never even have dreamed of five years ago.

What are some of your best practices you try to follow on each job?
I always try to bring all my own crew if I can. We have a tight team and it’s so much easier if I can bring all of my guys onto a job as we all have a shorthand with each other. Additionally, I always do detailed lighting diagrams with my gaffer and put in lots of prep and time into the planning of the lighting so we can move quickly and adapt on the day. I also try to build a good relationship with the director as much as I can before shooting.

Explain your ideal collaboration with the director or showrunner when starting a new project.
For me it’s ideal when you work with someone who wants to hear your ideas and bounces off you creatively. It should be a collaboration, and you should be able to talk openly about ideas and feel like you’re valued. That connection is very important — sometimes you click, and sometimes you don’t — it’s about chemistry.

What’s your go-to gear? Things you can’t live without?
Things change depending on the show, but I love a Technocrane and a good remote head. If the show has the budget, they are such brilliant tools to move a camera and find the shot quickly.

On Peaky Blinders we used the ARRI Trinity camera stabilizer quite a lot, which is especially great if you have operator Andrew Fletcher, who is a master!


Randi Altman is the founder and editor-in-chief of postPerspective. She has been covering production and post production for more than 20 years. 

Official Secrets director Gavin Hood talks workflow on this real-life thriller

By Iain Blair

South African writer/director Gavin Hood burst onto the international scene when he wrote and directed 2005’s Academy Award-winning Tsotsi. The film, which was also nominated for a Golden Globe and a BAFTA, won the People’s Choice Award at the Toronto International Film Festival.

Gavin Hood

Hood followed up that success with the harrowing political drama Rendition (Reese Witherspoon, Meryl Streep), X-Men Origins: Wolverine (Hugh Jackman), the sci-fi offering Ender’s Game (with Asa Butterfield, Harrison Ford, Ben Kingsley) and the thriller Eye in the Sky (Helen Mirren, Aaron Paul, Alan Rickman).

For his new film, Official Secrets, Hood returns to the murky world of government secrets and political double-dealing with a true but largely forgotten story that could have prevented the disaster that was the Iraq invasion and war. It tells the gripping story of Katharine Gun (Keira Knightley), a British intelligence specialist whose job involves routine handling of classified information. In 2003, in the lead up to the Iraq War, Gun receives a memo from the NSA with a shocking directive: the United States is enlisting Britain’s help in collecting compromising information on United Nations Security Council members in order to blackmail them into voting in favor of an invasion of Iraq. Unable to stand by and watch the world be rushed into an illegal war, Gun defies her government and leaks the memo to the press. So begins an explosive chain of events that ignited an international firestorm, exposed a vast political conspiracy, and put Gun and her family directly in harm’s way.

I recently spoke with Hood about making the film — which co-stars Ralph Fiennes as Gun’s lawyer and Matt Smith as journalist Martin Bright, who helped break the story — and his workflow.

To be honest, I’d never heard of Katharine Gun and her amazing story. Had you?
No, I knew nothing about it either. My producer Ged Doherty, who did Eye in the Sky with me, told me about this incredible true story and suggested I Google Katharine. Two hours later, having done a deep dive into this truly fascinating story, I realized it was this way of getting into the Iraq War and all that convoluted history through a very personal story.

What attracted you to this project?
That personal angle. Here’s a person who’s not a big political figure, but just someone going about her job. She comes across something that just smells rotten and decides she must say so. I thought, this could be any of us, in any organization, and who would be brave enough to become a whistleblower and risk losing our job in order to reveal the truth? She also risked losing her freedom as well, so whatever you think politically, she was very brave in following her conscience. I was intrigued right away by this character but not sure I actually wanted to do it.

I flew to London to meet Katharine. I sat down with her for five days, and each day we’d just talk and work for four or five hours. I’d take all these notes and over those five days, I think I won her trust. The main thing was, I just let her tell me about the events and what really happened without trying to make it into something more “Hollywood” or more exciting in terms of a movie. After that, I felt, “OK, we can do this.”

Lack of government transparency seems more timely than ever.
Absolutely, and that’s why this story is so important.

What sort of film did you set out to make?
A political thriller that’s also an understated personal drama. But making these kinds of films is far more difficult than making non-controversial entertainment fare, and it’s always so difficult getting financing.

Do you feel more responsibility when it’s based on real events and characters?
I do, and though I’ve made these kind of films before, this was the first time for me that all the main people were still alive, so it brings with it certain restrictions. You don’t want to fall short and have them scoff at your efforts, and you can’t take liberties with the narrative and the facts. Then this had the challenge of being a true story that doesn’t follow the conventional Hollywood “hero whistleblower” tale. It didn’t change the world. She’s just an ordinary person who did something extraordinary, and it’s about common decency and dignity.

What did Keira bring to the lead role, as well as Ralph Fiennes as her lawyer and Matt Smith as journalist Martin Bright?
They were all so committed and did a lot of research into their characters. Keira told me it was great to play a strong woman without having to wear a corset, and she really inhabits the role and makes you feel what it was like to be in Katharine’s shoes. She shows so much with just her eyes, so we used a lot of close-up work with a 75mm lens. Ralph shot all his scenes in just six days because of our tight 34-day schedule.

Your DP was Florian Hoffmeister, and you shot with the new Sony 6K Venice camera. Can you talk about how you collaborated on the look and how that affected the DI?
Yes, we were actually the first feature film to use it, so we did a lot of tests. It has an incredible dynamic range, not only moving from highlights to shadow but it’s got this great nuanced control of color. I’ve always loved shooting on film, but this camera’s so amazing that I’m now totally comfortable going all digital. In terms of post and the DI, we were really able to play with the footage.

When I shoot, I never want to push the look too much in-camera, as then you’re really limited in your choices in the DI. So my goal in shooting is always to get as much really detailed raw footage as I can, so I can then manipulate it in the DI. I don’t like to shoot with lots of filters and toys on the lens.

Where did you post?
At Technicolor in London and LA, and we did all the sound at Tribeca West in LA.

Do you like the post process?
I love it. I love writing, I love shooting, but post is where you actually make the film.

Talk about editing with your go-to editor Megan Gill who’s cut almost every film since 2005’s Tsotsi. How did that work?
She visits the set once or twice, but she doesn’t like to see how the sausage is made. She was on location and just to look at the dailies and do her assembly, and I’d drop by and we’d discuss it. Then she started cutting in London and then we finished in LA.

What were the big editing challenges?
It was basically a meticulous search for the most nuanced performances and trusting that we could then let them play out. There’s a scene where Katharine’s visited at home by a detective who tells her she can’t talk to a lawyer or anyone without clearing it with the authorities first. Instead of cutting back and forth between them as you’d usually do, we kept it on Keira and you see her slow burn, and it was far more effective that way. So, often it’s more important where you don’t cut rather than where you do.

VFX play a role. How many were there and what did they entail?
Technicolor VFX did them all, and they were mostly comps for scenes shot in places like rooftops in Manchester and Liverpool, which doubled for London. So it was live shots augmented with matte paintings and VFX for the London skyline. And we had a lot of television comps, but not nearly as many VFX as I had on my last film, Eye in the Sky.

Can you talk about the importance of sound and music, as again, you recruited composers Paul Hepker and Mark Kilian, who have scored a number of your films, including Tsotsi and Rendition.
We go way back, and they’re both amazing South African composers who have such a range — from classical to jazz and world music. That range works so well with my films, which are often multicultural. So in this film we have Britain, but it’s also about Iraq. And Katharine’s husband is Kurdish-Turkish, so we had to build a soundtrack that vibrates with the sound and emotional resonance of all these different places and cultures.

They crafted a great score that did exactly that. We did most of the sound work at Technicolor. Then sound editor Craig Mann, who won the Oscar for Whiplash and who did Eye in the Sky, did all the mixing at Tribeca West… most of it in a very small room. And he worked closely with Paul and Mark and is so good at building atmosphere and tension.

Where did you do the DI, and how important is it to you?
Also at Tribeca West, and it’s extremely important to me, as I have a background in photography. Florian and I worked very closely with colorist Doug Delaney, and it’s a period piece so we wanted a dusty, slightly period feel without pushing it too far.

What’s next?
I’m developing several projects, so whatever comes together first.


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.

Company 3 buys Sixteen19, offering full-service post in NYC

Company 3 has acquired Sixteen19, a creative editorial, production and post company based in New York City. The deal includes Sixteen19’s visual effects wing, PowerHouse VFX, and a mobile dailies operation with international reach.

The acquisition helps Company 3 further serve NYC’s booming post market for feature film and episodic TV. As part of the acquisition, industry veterans and Sixteen19 co-founders Jonathan Hoffman and Pete Conlin, along with their longtime collaborator, EVP of business development and strategy Alastair Binks, will join Company 3’s leadership team.

“With Sixteen19 under the Company 3 umbrella, we significantly expand what we bring to the production community, addressing a real unmet need in the industry,” says Company 3 president Stefan Sonnenfeld. “This infusion of talent and infrastructure will allow us to provide a complete suite of services for clients, from the start of production through the creative editing process to visual effects, final color, finishing and mastering. We’ve worked in tandem with Sixteen19 many times over the years, so we know that they have always provided strong client relationships, a best-in-class team and a deeply creative environment. We’re excited to bring that company’s vision into the fold at Company 3.”

Sonnenfeld will continue to serve as president of Company 3, and oversee operations of Sixteen19. As a subsidiary of Deluxe, Company 3 is part of a broad portfolio of post services. Bringing together the complementary services and geographic reach of Company3, Sixteen19 and Powerhouse VFX, will expand Company 3’s overall portfolio of post offerings and reach new markets in the US and internationally.

Sixteen19’s New York location includes 60 large editorial suites; two 4K digital cinema grading theaters; and a number of comfortable spaces, open environments and many common areas. Sixteen19’s mobile dailies services will add a perfect companion to Company 3’s existing offerings in that arena. PowerHouse VFX includes dedicated teams of experienced supervisors, producers and artists in 2D and 3D visual effects and compositing.

“The New York film community initially recognized the potential for a Company 3 and Sixteen19 partnership,” says Sixteen19’s Hoffman. “It’s not just the fact that a significant majority of the projects we work on are finished at Company 3, it’s more that our fundamental vision about post has always been aligned with Stefan’s. We value innovation; we’ve built terrific creative teams; and above all else, we both put clients first, always.”

Sixteen19 and Powerhouse VFX will retain their company names.

Scratch 9.1 now supports AJA Kona 5, Red 8K workflows

Assimilate’s Scratch 9.1 now supports AJA Kona 5 audio and video I/O cards, enabling users to output 8K 60p video via 12G-SDI. Scratch 9.1 is also now supporting AJA’s Io 4K Plus I/O box with Thunderbolt 3 connectivity. The product also works with AJA’s T-Tap Io 4K, Kona 1 and Kona 4.

Scratch support for Kona 5 allows for a smooth dailies and finishing workflow for Red 8K footage. Scratch handles the decoding and deBayering of 8K Red RAW in realtime at full resolution and can now natively output 8K over SDI through Kona 5, facilitating a full end-to-end 8K workflow.

Available immediately, Scratch 9.1 starts at $89 a month and $695 annually. AJA Kona 5 and Io 4K Plus are available now through AJA’s reseller network for $2,995 and $2,495 respectively.

FilmLight sets speakers for free Color On Stage seminar at IBC

At this year’s IBC, FilmLight will host a free two-day seminar series, Color On Stage, on September 14 and 15. The event features live presentations and discussions with colorists and other creative professionals. The event will cover topics ranging from the colorist today to understanding color management and next-generation grading tools.

“Color on Stage offers a good platform to hear about real-world interaction between colorists, directors and cinematographers,” explains Alex Gascoigne, colorist at Technicolor and one of this year’s presenters. “Particularly when it comes to large studio productions, a project can take place over several months and involve a large creative team and complex collaborative workflows. This is a chance to find out about the challenges involved with big shows and demystify some of the more mysterious areas in the post process.”

This year’s IBC program includes colorists from broadcast, film and commercials, as well as DITs, editors, VFX artists and post supervisors.

Program highlights include:
•    Creating the unique look for Mindhunter Season 2
Colorist Eric Weidt will talk about his collaboration with director David Fincher — from defining the workflow to creating the look and feel of Mindhunter. He will break down scenes and run through color grading details of the masterful crime thriller.

•    Realtime collaboration on the world’s longest running continuing drama, ITV Studios’ Coronation Street
The session will address improving production processes and enhancing pictures with efficient renderless workflows, with colorist Stephen Edwards, finishing editor Tom Chittenden and head of post David Williams.

•    Looking to the future: Creating color for the TV series Black Mirror
Colorist Alex Gascoigne of Technicolor will explain the process behind grading Black Mirror, including the interactive episode Bandersnatch and the latest Season 5.

•    Bollywood: A World of Color
This session will delve into the Indian film industry with CV Rao, technical general manager at Annapurna Studios in Hyderabad. In this talk, CV will discuss grading and color as exemplified by the hit film Baahubali 2: The Conclusion.

•    Joining forces: Strengthening VFX and finishing with the BLG workflow
Mathieu Leclercq, head of post at Mikros Image in Paris, will be joined by colorist Sebastian Mingam and VFX supervisor Franck Lambertz to showcase their collaboration on recent projects.

•    Maintaining the DP’s creative looks from set to post
Meet with French DIT Karine Feuillard, ADIT — who worked on the latest Luc Besson film Anna as well as the TV series The Marvelous Mrs Maisel — and FilmLight workflow specialist Matthieu Straub.

•    New color management and creative tools to make multi-delivery easier
The latest and upcoming Baselight developments, including a host of features aimed to simplify delivery for emerging technologies such as HDR. With FilmLight’s Martin Tlaskal, Daniele Siragusano and Andy Minuth.

Color On Stage will take place in Room D201 on the second floor of the Elicium Centre (Entrance D), close to Hall 13. The event is free to attend but spaces are limited. Registion is available here.

DP Chat: Dopesick Nation cinematographer Greg Taylor

By Randi Altman

Dopesick Nation is a documentary series on Vice Media’s Viceland that follows two recovering heroin addicts, Frankie and Allie, in South Florida as they try to help others while taking a look at corruption and exploitation in the rehab industry. The series was inspired by the feature film American Relapse.

Dopesick Nation

As you might imagine, the shoot was challenging, often taking place at night and in dubious locales, but cinematographers Greg Taylor and Mike Goodman were up for the challenge. Both had worked with series co-creator/executive producer Patrick McGee previously and were happy to collaborate once more.

We reached out to DP Taylor to talk about working with McGee and Goodman and the show’s workflow.

Tell us about Dopesick Nation. How early did you get involved in this series, and how did you work with the director?
Pat McGee tapped myself and Mike Goodman to shoot American Relapse. We were just coming off another show and had a finely tuned team ready to spend long nights on this new project. The movie turned out to have a familiar gritty feel you see in the show but in a feature documentary format.

I imagine it was a natural progression to use us again once the TV show was greenlit by Viceland. Pat would keep on our heels to find the best moments for every story and would push us to go out and produce intimate moments with the subjects on the fly. He and producer Adam Linkenhelt (American Relapse) were with us almost every step of the way, offering advice, watching our backs and looking out for incoming storylines. Honestly, I can’t say enough good things about that whole crew.

(L-R) Mike Goodman, supervising producer Adam Linkenhelt and showrunner Pat McGee (Photo by Greg Taylor)

How did you work with fellow DP Mike Goodman? How did you divvy up the shots?
Mike and I have worked long enough together that we have an efficient shorthand. A gesture or look can set up an entire scene sometimes, and I often can’t tell my shots from his. We both put a lot of effort into creativity in our imagery and pushing the bar as much as we can handle. During rare downtimes, we might brainstorm on a new way to shoot b-roll or decide what “gritty” should look and feel like.

Covering the often late and challenging days took a bit of baton-passing back and forth. Some days, we would split up and shoot single camera as well. It was decided at some point that I would cover more of Frankie’s story, while Mike would cover Allie. When the two met up at the end of the day, we would cover them together. Most of the major scenes we shot together, but there were times when too much was happening to cover it all. We were really in the addicts’ world, so some events were completely unexpected.

How would you describe the look of the doc?
I’d say gritty would be the best single word, but that can be nuanced quite a bit. There was an overall aim to keep some frames dirty during dialogue scenes to achieve a slightly voyeuristic feel but still leave lots of room for intimate, in-your-face, bam-type moments when the story dictated. We always paid attention to our backgrounds, and there was a focus on the contrast between beautiful southeast Florida and the dark underbelly lurking just next to it. The show had to be so real that no one would ever question the legitimacy of what we were showing. No-filter, behind-the-veil type thinking in every shot.

Dopesick Nation

How does your process change when shooting a documentary versus a fictional piece? Or does it not?
Story is king, and I’d say character arcs for the feature American Relapse were different from the TV version. In the film, we gave an overview of the treatment industry told through the eyes of our two main characters, Allie and Frank. It is structured somewhat around their typical day and sit-down interviews.

The TV show did not have formal interviews but did allow us to dig deeper into accounts from individuals with addiction, the world they live in and the hosts themselves. The 10 one-hour episodes and three-plus months spent shooting gave us a little more time to build up a library of transition pieces and specialty b-roll.

Where was it shot?
Almost all of the shooting took place in and around southeast Florida. A few short scenes were picked up in Ohio and LA.

How did you go about choosing the right camera and lenses for this project? Can you talk about camera tests?
It’s funny because Mike and I both independently came up with using the Panasonic VariCam LT after the director came to us asking what we wanted to shoot with. We chatted and decided that we needed solutions for potentially tougher nighttime setups than we had been used to. When we gathered for a meeting and started up the gear list, Mike and I both had the LT on the top of our requests.

Dopesick Nation

I think that signaled to the preproduction team we were unanimous on what the best system was to use and production manager Keith Plant made it happen. I had seen the camera in action at NAB and watched some tests a friend had shot on it a few months before. I was easily sold on its rich blacks and dual native ISO. That camera could see into the dark and wasn’t so heavy we would collapse at the end of the day; it worked out very well.

Can you talk about the lighting and how the camera worked while grabbing shots when you could?
Lighting on this show was minimal, but we did use fills and background illumination to enhance some scenes. Working mostly at night — in dubious surroundings — often meant we couldn’t light scenes. Lights bring unwanted attention to the crew and subjects, and we found it changed the feel of the scene in a negative way.

Using the available light at each location quickly became fundamentally important to maintain the unfiltered nature of the show. Every bright spot in the darkness was carefully considered, and if we could pull subjects slightly toward a source, even to get 1/3 a stop more, we would take it.

Any challenging scenes that you are particularly proud of or found most challenging?
There were a lot of scenes that were challenging to shoot technically, but that happens on any project. You don’t always want to see what you are standing next to, but the story needs to be told. There are a lot of people out there really struggling with addiction, and it can be really painful to watch. Being present with everyone and being real with them had to be in your mind constantly. I kept thinking the whole time, “Am I doing them justice? What can I do better? How can I help?”

DPs Mike Goodman and Greg Taylor shoot Ally interviewing one of the subjects (Photo by Tara Sarzen)

Let’s move on to more some more general questions. How did you become interested in cinematography?
I’ve always loved working with celluloid and photography and was brought up with a darkroom in the house. I remember taking a filmmaking summer camp when I was 14 in Oxford, Mississippi, and was basically blown away. I’ve been aiming for a career in cinematography ever since.

What inspires you artistically? And how do you simultaneously stay on top of advancing technology that serves your vision?
Artistically, I love Dali, Picasso and the works of Caravaggio and Rembrandt. The way light plays in a chiaroscuro painting is really something worth studying and it isn’t easy to replicate.

I like to try and pay homage to the films I enjoy and artworks I’ve visited by incorporating some of their ideas into my own work. With film cameras, things changed slower over the years, and it was often the film stock that became the technological advancement of its day. Granular structure turned to crystal structures, higher ISO/ASA were achieved, color reproduction improved. The same is with the new camera systems coming out. Sensors are the new film stock. You pick what is appropriate to the story.

What new technology has changed the way you work?
I rarely go anywhere nowadays without a drone. The advancements in drone technology have changed the aerial world entirely, and I’m happy to see these new angles open up in an increasingly responsible and licensed way.

DP Greg Taylor shooting in SE Florida. (Photo by Evan Parquette)

Gimbals are a game changer in the way the Steadicam came onto the scene, and I don’t expect them to go anywhere. Also motion-control devices and newer, more sensitive sensors are certainly fitting the bill of ever-evolving and improving tech.

What are some of your best practices or rules you try to follow on each job?
Be aware and attentive of your surroundings and safety. Treat others with respect. Maintain a professional attitude under stress. If you are five minutes early, you’re late.

Explain your ideal collaboration with the director when setting the look of a project.
I love discussing what the heart of the script or concept really means and trying to find the deeper connection with how it can be told visually. Referencing other films/art/ TV we both have experience with and finding a common language that makes sense for the vision.

What’s your go-to gear — things you can’t live without?
I have an old Nikkor 55mm f1.2 lens I love, and I often shoot personal projects on prime vintage glass. The edges aren’t quite as sharp as modern lenses so in the case of the 55mm, you get a lovely yet subtle sharpness vignette along with a warm overall feel.

It’s great for interviews because it softens the digital crispness newer sensors exhibit without the noticeable changes you might see with certain filtration. The Hip Shot belt has been one of my best friends over the past while, and it saves you on the long days and low, long dialogue scenes when handholding seated subjects.


Randi Altman is the founder and editor-in-chief of postPerspective. She has been covering production and post production for more than 20 years. 

GLOW’s DP and colorist adapt look of new season for Vegas setting

By Adrian Pennington

Netflix’s Gorgeous Ladies of Wrestling (GLOW) are back in the ring for a third round of the dramatic comedy, but this time the girls are in Las Vegas. The glitz and glamour of Sin City seems tailor-made for the 1980s-set GLOW and provided the main creative challenge for Season 3 cinematographer Chris Teague (Russian Doll, Broad City).

DP Chris Teague

“Early on, I met with Christian Sprenger, who shot the first season and designed the initial look,” says Teague, who was recently nominated for an Emmy for his work on Russian Doll. “We still want GLOW to feel like GLOW, but the story and character arc of Season 3 and the new setting led us to build on the look and evolve elements like lighting and dynamic range.”

The GLOW team is headlining the Fan-Tan Hotel & Casino, one of two main sets along with a hotel built for the series and featuring the distinctive Vegas skyline as a backdrop.

“We discussed compositing actors against greenscreen, but that would have turned every shot into a VFX shot and would have been too costly, not to mention time-intensive on a TV schedule like ours,” he says. “Plus, working with a backdrop just felt aesthetically right.”

In that vein, production designer Todd Fjelsted built a skyline using miniatures, a creative decision in keeping with the handcrafted look of the show. That decision, though, required extensive testing of lenses, lighting and look prior to shooting. This testing was done in partnership with post house Light Iron.

“There was no overall shift in the look of the show, but together with Light Iron, we felt the baseline LUT needed to be built on, particularly in terms of how we lit the sets,” explains Teague.

“Chris was clear early on that he wanted to build upon the look of the first two seasons,” says Light Iron colorist Ian Vertovec. “We adjusted the LUT to hold a little more color in the highlights than in past seasons. Originally, the LUT was based on a film emulation and adjusted for HDR. In Season 1, we created a period film look and transformed it for HDR to get a hybrid film emulation LUT. For Season 3, for HDR and standard viewing, we made tweaks to the LUT so that some of the colors would pop more.”

The show was also finished in Dolby Vision HDR. “There was some initial concern about working with backdrops and stages in HDR,” Teague says. “We are used to the way film treats color over its exposure range — it tends to desaturate as it gets more overexposed — whereas HDR holds a lot more color information in overexposure. However, Ian showed how it can be a creative tool.”

Colorist Ian Vertovec

“The goal was to get the 1980s buildings in the background and out the hotel windows to look real — emulating marquees with flashing lights,” adds Vertovec. “We also needed it to be a believable Nevada sky and skyline. Skies and clouds look different in HDR. So, when dialing this in, we discussed how they wanted it to look. Did it feel real? Is the sky in this scene too blue? Information from testing informed production, so everything was geared toward these looks.”

“Ian has been on the first two seasons, so he knows the look inside and out and has a great eye,” Teague continues. “It’s nice to come into a room and have his point of view. Sometimes when you are staring at images all day, it’s easy to lose your objectivity, so I relied on Ian’s insight.” Vertovec grades the show on FilmLight’s Baselight.

As with Season 2, GLOW Season 3 was a Red Helium shoot using Red’s IPP2 color pipeline in conjunction with Vertovec’s custom LUTs all the way to post. Teague shot full 8K resolution to accommodate his choice of Cooke anamorphic lenses, desqueezed and finished in a 2:1 ratio.

“For dailies I used an iPad with Moxion, which is perhaps the best dailies viewing platform I’ve ever worked with. I feel like the color is more accurate than other platforms, which is extremely useful for checking out contrast and shadow level. Too many times with dailies you get blacks washed out and highlights blown and you can’t judge anything critical.”

Teague sat in on the grade of the first three of the 10 episodes and then used the app to pull stills and make notes remotely. “With Ian I felt like we were both on the same page. We also had a great DIT [Peter Brunet] who was doing on-set grading for reference and was able to dial in things at a much higher level than I’ve been able to do in the past.”

The most challenging but also rewarding work was shooting the wrestling performances. “We wanted to do something that felt a little bigger, more polished, more theatrical,” Teague says. “The performance space had tiered seating, which gave us challenges and options in terms of moving the cameras. For example, we could use telescoping crane work to reach across the room and draw characters in as they enter the wrestling ring.”

He commends gaffer Eric Sagot for inspiring lighting cues and building them into the performance. “The wrestling scenes were the hardest to shoot but they’re exciting to watch — dynamic, cinematic and deliberately a little hokey in true ‘80s Vegas style.”


Adrian Pennington is a UK-based journalist, editor and commentator in the film and TV production space. He has co-written a book on stereoscopic 3D and edited several publications.

DP Chat: David Makes Man’s Todd A. Dos Reis, ASC

The series David Makes Man follows a 14-year-old boy attending a prestigious magnet school and his formerly drug-addicted mother, who is relying on him and his potential to get them out of the rough Miami neighborhood they live in. David is torn between the streets he grew up on and the life he’s capable of living.

Written by playwright Tarell Alvin McCraney, an Oscar winner for co-writing Moonlight, David Makes Man will be premiere on Oprah Winfrey’s OWN network on August 14. Along with McCraney, some of the show’s producers include Nantale Corbett, Mike Kelley, Michael B. Jordan, Oprah Winfrey. Dee Harris-Lawrence is a showrunner, along with McCraney.

The series depicts David’s two very different worlds — home and school — each of which  McCraney wanted to have different looks. He called on cinematographer Todd A. Dos Reis, ASC, to help create those two worlds. We reached out to Dos Reis to find out how he accomplished this and his workflow.

Tell us about David Makes Man. How would you describe the overarching look of the film?
Early on in pre-production, showrunner Tarell McCraney and I came up with the idea to have our young protagonist, David, live in two worlds and give each world its own distinct look.

One world was The Ville, the Miami housing project where he lived with his mother and younger brother. David’s home life was unpredictable, and we wanted the viewer to be on edge as David was on a daily basis. The Ville had low-income families and drug dealers that ran their business out of the projects. The Ville would not have the typical lushness dripping with color that everyone is used to seeing in Miami. Our Miami would be a desaturated limited color palette leaning toward the cool blue side of the color wheel.

David’s other world was his middle school that encompassed a warmer tone, with natural lighting that you would see in the early morning and the late afternoon. David is a prodigy and excels in this world, so we wanted to make this environment more welcoming.

How did the director tell you about the look that was wanted?
In our initial meeting, Tarell McCraney, the EP, showrunner and writer, talked about Fresh (1994) and Juice (1992) being a good place to start when discussing the tone of the show. He said he wanted David Makes Man to be a 10-hour film versus 10 one-hour episodes.

We also discussed the works of artist Kerry James Marshall when looking at the blackness of a frame. In David Makes Man, we wanted to accept darkness as a point of expression versus a deficit. Director Michael Williams came in with an amazing look book that referenced images from Mother of George, Daughters of the Dust, Selma and Belly.

How early did you get involved in the production?
As soon as I got the call from producer Wayne Morris that I was their choice for DP, I made myself available for discussions with the showrunners Tarell McCraney and Dee Lawrence Harris. I had three weeks of unofficial prep in Los Angeles and three weeks of prep in Orlando.

It was shot in Orlando?
The story of David Makes Man takes place in Miami, but we filmed in Orlando. We were based at Universal Studios Orlando, where we built the interiors of The Ville housing project apartments (David’s family apartment and friend of the family Elijah’s apartment) and any swing sets that appeared in various episodes. There was one day of filming in Miami with a second unit.

How did you go about choosing the right camera and lenses?
There were many factors that I had to consider. First, how to visually create the two worlds of David. The Ville, where David lived, was going to be hand-held, subjective, wider lenses in your face, and more intimate and chaotic.

His school and outside The Ville world were going to be photographed on a stable platform, i.e. dollies, cranes and SteadiCam. This world was going to have a natural calming feel to offset his home life. I needed a camera that could be used hand-held, on a dolly and on a SteadiCam and switched back and forth quickly. I chose three ARRI Alexa Minis.

David’s two worlds were also enhanced by filming in both spherical and anamorphic. Discussions with the director of Episode 1, Michael Williams, led us to film The Ville with Cooke anamorphic lenses. Because many scenes in the story take place in David’s alternate reality, and I was going to be using the Lensbaby lenses to heighten David’s visions, the Cooke anamorphics created a great foundation to have under David’s visions. The spherical lenses, Cooke Panchro/i Classics, would be used to show the normalcy of David’s school and anything outside of The Ville.

Are there any scenes that you are particularly proud of or found most challenging?
Our most challenging scenes usually took place at The Ville. We built a two-story section of a housing project where some of the interior apartments were practical. For day exteriors in the ever-changing Florida sky and weather, we used a 40×40 quarter silk to cover the courtyard. We could have used an 80×80. Key grip Joel Wheatley and his crew managed the silk like a sail on a yacht, constantly trimming and adjusting for weather changes and shot selection.

Night exteriors at The Ville called for an array of lighting instruments. Working from the inner circle of the hallways, we built fluorescent housings to hang above the exterior hallways and hold two 4-foot cool white fluorescents with cyan 60. This would give our wide range of African American skin tones an unnatural and eerie color. The next circle of color is what lit The Ville courtyard and exterior.

Gaffer Marc Wostak bought safety lights at a local hardware store, and we gelled them with high sodium gel. We built four poles for inside the courtyard and hung the gelled safety lights on the outside corners of each housing project building. The final outside diameter of The Ville had a sprinkling of mercury vapor lighting (1/2 blue and ¼ plus green). To give moonlight ambience, we always used one or two helium balloons above the courtyard and parking area at The Ville. Because helium was a rare commodity on our budget, we usually hung the balloons without helium from 80-foot Condors.

Without giving any story points away, there were night interior scenes where there was no electricity and we were blocked out of any possible moonlight. Being a big fan of John Alcott, BSC, and the film Barry Lyndon, I took my impetus from here. Not having the fast T1.3 lens that Mr. Alcott used, I had the art department buy every three-wick and two-wick candle they could find in Orlando. I augmented the scenes with small china balls and LED Light Gear patches that I could tape to candles and hide behind objects in the room. In some scenes we had the luxury of a character carrying a flashlight, but that was rare.

The most challenging scene would have to be when two characters have a heated discussion with someone holding a Zippo lighter. We taped four dots of tungsten LED Light Gear to the back side of the Zippo and ran the cable down the actor’s wardrobe with my gaffer Marc Wostak walking and adjusting as the actor moved around the room. The choreography between camera operator Bob Scott, Marc Wostak and the actors was something out of a Bob Fosse film.

Can you talk about shooting anamorphic for The Ville housing project scenes?
We wanted to shoot David’s world at The Ville with anamorphic lenses because this is the place he did not want to be. One of David’s main goals in the story is to get out of this life at The Ville. I felt the anamorphic lenses would help isolate David from his surroundings and the drug dealers he didn’t want to be associated with.

The shallow depth of field that the lenses give you was a characteristic that we wanted to create visually. We wanted to show the emotions on his face that David was going through as well as heighten the tension of what was lurking around the dark corners of The Ville. The lenses also helped in giving us a more filmic quality and made all the episodes feel more like a feature film instead of 10 episodes.

How did you become interested in cinematography?
From an early age, I watched a great deal of TV and frequented the local movie theater to see any film that hit my small city of New Bedford, Massachusetts. It started with Disney films with my family, then went to Bruce Lee triple features and the Blaxploitation genre.

When I was 13, my grandparents bought me my first Canon still camera and I was fascinated. This led me to photography classes and running the TV studio at my high school. My love for the image grew, and I researched the best film schools for college. I ended up at USC Cinema. I started focusing on cinematography and learned that I could tell a story with just the visual image.

What inspires you artistically? And how do you simultaneously stay on top of advancing technology that serves your vision?
I am inspired artistically by the journey to be original. I am constantly trying to never repeat myself, and I never want to imitate anyone else in this industry. I use other DPs and directors that I admire as inspirations.

I try to stay on top of advancing technology that serves my vision by always educating myself and surrounding myself with artists and craftsmen who are willing to take chances and are not afraid of failing.

What new technology has changed the way you work (looking back over the past few years)?
I think all the advancements in the LED lighting category have opened up amazing opportunities for filmmakers. In productions where space is always a factor, there is always some nook and cranny to create beautiful, artistic or dramatic lighting.

What are some of your best practices or rules you try to follow on each job?
On every project, I use the script as my bible. What is the story? What is the auteur trying to convey? What is the emotion of each scene? My job is to visually collaborate with the director, showrunner or writer to get their vision to the screen. The rule I try to follow is that there are no rules in filmmaking. The more rules I can break, the more original I will be as an artist.

Explain your ideal collaboration with the director when setting the look of a project.
It starts with the script. I like to meet with a director as early and as often as possible. If a director is open to ideas that are not his/hers, then I know I am in a good place. Sharing ideas, watching films together and collaborating and experimenting on the set opens up my creativity.

What’s your go-to gear (camera, lens, mount/accessories) — things you can’t live without?
My most recent go-to gear is a set of Lensbaby lenses that my camera house, Otto Nemenz, created for me. I am also a big fan of Tiffen and Schneider streak filters. The lighting instrument that I can’t do without is a Source Four Leko. I would like to do a project with all Lekos, daylight and tungsten.


Randi Altman is the founder and editor-in-chief of postPerspective. She has been covering production and post production for more than 20 years. 

DP and director talk about shooting indie Concrete Kids

Director Lije Sarki’s Concrete Kids tells the story of two nine year old boys from Venice, California, who set off on a mission to cross Los Angeles on skateboards at night to reach the Staples Center by morning for a contest. Now streaming on Amazon Prime, the low-budget feature from The Orchard was shot by cinematographer Daron Keet with VariCam LTs in available light mainly at night.

There were many challenges in shooting Concrete Kids, including working with child actors, who could only shoot for three hours per night. “Seventeen nights at three hours per night, that really only equals like four days of shooting,” explains Sarki. “The only way we could shoot and be that mobile and fast was if we used ambient light with Daron holding the camera and using the occasional sticks for wide shots. I also didn’t want to use kids that didn’t skate because I don’t like to cheat authenticity. I didn’t want to cheat the skateboarding and wanted it to feel real. I really wanted to make everything small — just a camera and someone recording sound.”

“When Lije said he didn’t want to have a crew,” says Keet, “I was a little [surprised] because I’m used to having a full crew, and I like using traditional film tools. I also don’t like making movies as documentaries. But I always like to push myself and have different challenges. One reason I didn’t hesitate in doing the film is that Lije is very organized. The more work you do up front, the easier the shoot will be.”

Keet shot the film with the VariCam LT. For Keet, the look was going to be determined by the actual environment, not influenced by his lighting. “We were working at such low light levels,” explains Keet. “We shot in alleys that to your eye, looked black. I would just aim the VariCam down this alley and then you would see something different to what your eye was seeing. It was amazing. We even had experiences where a traffic light would change from green to red and change the illumination from a green ambiance to a red ambiance. For me, it was an incredible challenge and a different way of working where I’m not just looking for opportunities for available light but I’m looking for opportunities where I’m needing the camera to find those opportunities.

DP Daron Keet (in wheelchair) on set

“It’s really nice to have a tool where you can tell the story you want with the tools you have,” he continues. “A lot of people don’t like night shooting, but I actually love it because as a DP you have more control at night because everything is turned off and you can place lights where you want. Concrete Kids was a much different challenge because I was shooting at night, but I didn’t have much control. I had to be able to see things in a different way.”

With the VariCam LT, Keet captured 10-bit 422 4K (4096×2160) AVC-Intra files in V-Log while monitoring his footage with the Panasonic V-709 LUT. Since over 90% of the movie was shot at night in available light, Keet captured at native 5000 ISO. For certain shots he even used the LT’s internal ND for night sequences where he wanted more shallow depth of field.

Although he stuck to mainly available street lights, Keet occasionally used a magnetized one-foot tube light that he kept in his back pocket. “There was one scene that was very well illuminated in the background, but the foreground was dark, so I wanted to balance it out,” explains Keet. “I stuck the light onto a stop sign and it balanced the light perfectly. With digital I’m pretty good at knowing what’s going to overexpose. It’s more about camera angles and always trying to have things backlit because you’re always getting enough light to bounce around.”

For lenses, Keet employed a vintage set of Super Baltar prime lenses, which the production received from Steve Gelb at LensWorksRentals.com. Keet loved how the lenses spread the light throughout the frame. “A lot of the new lights will hold the flares,” explains Keet. “The Super Baltars spreads the flares and makes the image look really creamy and it gives you more of a rounded bokeh. If you look at anamorphic for example, it would you give you an oblong shape. With the Baltars, the iris is smooth and rounded. If you see an out of focus street lamp, the outer edge on newer glass might be sharp but with older glass, it will be much softer. A creamy look is also very forgiving on faces.”

Keet shot wide open most of the time and relied on his skill working as a focus puller years prior. Sarki also had a wireless director’s monitor so he could see check focus for Keet as well.

The film was edited by Pete Lazarus using Adobe Premiere Pro. Studio Unknown in Baltimore did the sound mix remotely. The film was color graded by Asa Fox at The Mill in LA pro bono. Fox gave Sarki a few different options for the look and Keet and Sarki would make adjustments so the film would feel consistent. Because they didn’t have a lot of time for the color grade, Keet relied on a trick he learned to keep things moving. He and Sarki would find their favorite moment that encapsulates a certain scene and work on that color before moving on to the next scene. “When you do that, you can work pretty quickly and then just walk away, leaving the colorist to do his job since we didn’t want to waste any time.”

“So many people helped make this project work because of their contributions without financial benefit,” says Sarki. “I’m super happy with the end result.”

Main Image: Director Lije Sarki

 

Point.360 adds senior colorist Patrick Woodard

Senior colorist Patrick Woodard has joined the creative team at Point.360 in Burbank. He was most recently at Hollywood’s DigitalFilm Tree, where he colored dozens of television shows, including ABC’s American Housewife, CBS’ NCIS: Los Angeles, NBC’s Great News and TBS’ Angie Tribeca. Over the years, he also worked on Weeds, Everybody Hates Chris, Cougar Town and Sarah Silverman: We Are Miracles.

Woodard joins Point.360 senior colorist Charlie Tucker, whose recent credits include the final season of the Netflix’s Orange Is the New Black, CW’s Legacies and Roswell, New Mexico, YouTube’s Cobra Kai, as well as the Netflix comedy Medical Police.

“Patrick is an exceptional artist with an extensive background in photography,” says Point.360’s SVP of episodic Jason Kavner. “His ability to combine his vast depth of technical expertise and his creative vision to quickly create a highly-developed aesthetic has the won the loyalty of many DPs and creatives alike.”

Point360 has four color suites at its Burbank facility. “Although we have the feel of a boutique episodic facility, we are able to offer a robust end to end pipeline thanks to our long history as a premier mastering company,” reports Kavner. “We are currently servicing 4K Dolby Vision projects for Netflix such as the upcoming Jenji Kohan series currently being called Untitled Vigilante Project, as well as the UHD SDR Sony produced YouTube series Cobra Kai. We also continue to offer the same end-to-end service to our traditional studio and network clients on series such as Legacies for the CW, Fresh Off The Boat, Family Guy and American Dad for 20th Century Fox, and Drunk History and Robbie for Comedy Central.

Woodard, who will be working on Resolve at Point360, was also a recent subject of our Behind the Title series. You can read that here.

Colorist Chat: Refinery’s Kyle Stroebel

This Cape Town, South Africa-based artist says that “working creatively with a director and DP to create art is a privilege.”

NAME: Colorist Kyle Stroebel

COMPANY: Refinery in Cape Town, South Africa

CAN YOU DESCRIBE YOUR COMPANY?
We are a full-service post company in the heart of Cape Town. We specialize in front-end dailies and data solutions, and have a full finishing department with a VFX arm and audio division.

Our work varies from long-form feature and television programming to commercials and music video content. We are a relatively young team that loves what we do.

AS A COLORIST, WHAT WOULD SURPRISE PEOPLE THE MOST ABOUT WHAT FALLS UNDER THAT TITLE?
We are by far the most important members of the team and the creative success of a movie is largely based around our skills! Okay, honestly? I have a shot on my timeline that is currently on version 54, and my client still needs an additional eyelash painted out.

I think the surprising thing to the uninformed is the minute elements that we focus on in detail. It’s not all large brush strokes and emotional gesturing; the images you see have more often than not gone through painstaking hours of crafting and creative processing. For us the beauty is in the detail.

Flatland

WHAT SYSTEM DO YOU WORK ON?
FilmLight’s Baselight

ARE YOU SOMETIMES ASKED TO DO MORE THAN JUST COLOR ON PROJECTS?
We are a small team handling multiple projects simultaneously, and our Baselight suites perform multiple functions as a result. My fellow colorist David Grant and I will get involved in our respective projects early on. We handle conform, VFX pulls and versioning and follow the pipe through until the film or project has cleared QC.

With Baselight’s enhanced toolset and paint functionality, we are now saving our clients both time and money by handling a variety of cleanups and corrections without farming the shots out to VFX or Flame.

Plus, the DI is pretty much the last element in the production process. We’re counselors, confidants and financial advisors. People skills come in really handy. (And a Spotify playlist for most tastes and moods is a prerequisite.)

WHAT’S YOUR FAVORITE PART OF THE JOB?
Making something amazing happen with a client’s footage. When they didn’t realize that their own footage could look like what the final product looks like… and sharing in that excitement when it happens.

WHAT’S YOUR LEAST FAVORITE?
Insane deadlines. As our tools have improved, the expectation for lightning-fast turnarounds has increased. I’m a perfectionist with my work and would love to spend days molding certain shots and trying new things. Walking away from a grade and coming back to it is often very fruitful because looking at a complex shot with fresh eyes frequently produces new outlooks and better results. But with hard delivery dates this is becoming seldom-afforded.

IF YOU DIDN’T HAVE THIS JOB, WHAT WOULD YOU BE DOING INSTEAD?
Scuba diving with manta rays in Bali; it’s a testament to how much I love what I do that I’m not doing that every day of my life.

WHY DID YOU CHOOSE THIS PROFESSION?
I sometimes wonder that myself when it’s 3am and I’m in a room with no windows for the 17th consecutive hour. Truthfully, I chose it because changing something from the banal to the magnificent gives me joy. Working creatively with a director and DP to create art is a privilege, and the fact that they must sweat and literally bleed to capture the images while I fiddle with the aircon in my catered suite doesn’t hurt.

I was in my third year of film school and brought one of my 16mm projects in to grade with a colorist in telecine. I couldn’t believe what I was seeing. I knew I wanted to do that.

CAN YOU NAME SOME RECENT PROJECTS YOU HAVE WORKED ON?
There have been a load of amazing projects recently. Our local industry has been very busy, and we have benefited greatly from that. I recently finished a remake of the cult classic Critters for Warner Bros.

Flatland

Before that I completed a movie called Flatland that premiered at Berlinale and then went to Cannes. There are a few other movies that I can’t chat too much about right now. I also did a short piece by one of South Africa’s biggest directors, Kim Geldenhuys, for the largest blue diamond found in recent history.

Changing of the seasons has also meant a couple of amazing fashion pieces for different fashion houses’ new collections.

HOW DO YOU PREFER TO WORK WITH THE DP/DIRECTOR?
Depends on the project. Depends on the director and DP too, actually. With long-form work,  I love to spend a day or two together with them in the beginning, and then I take a day or two to go over and play with a couple of scenes on my own. From there we should have reached a pretty cohesive vision as to what the directors wants and how I see the footage. Once that vision is aligned, I like to work on my own while listening to loud music and giving everything a more concrete look. Then, ideally, the director returns for a few days at the end, and we get stuck into the minutia.

With commercials, I like working with the director from early in the morning so that we know where we want to go before the agency has input and makes alterations! It’s a fine balancing act.

ANY SUGGESTIONS FOR GETTING THE MOST OUT OF A PROJECT FROM A COLOR PERSPECTIVE?
Have the colorist involved early on. When you begin shooting, have the colorist and DP develop a relationship so that the common vision develops during principal photography. That way, when the edit is locked, you have already experimented with ideas and the DP is shooting for a more precise look.

CAN YOU TALK ABOUT YOUR WORK ON THE WARNER BROS. FILM? EXPLAIN YOUR PROCESS ON THAT? ANY PARTICULARLY CHALLENGING SCENES?
Critters is a cult horror franchise from the late ’80 and early ‘90s. The challenge was to be really dark and moody but still stay true to the original and fit in with modern viewing devices without losing drastic detail. It centers on a lot of practical on-set special effects, something in increasing decline with advancements in CGI. Giving the puppets a lifelike appearance while still making them believable came with quite a few challenges.

HOW DO YOU PREFER THE DP OR DIRECTOR TO DESCRIBE THE LOOK THEY WANT? PHYSICAL EXAMPLES, FILMS TO EMULATE, ETC.?
Practical examples or references are very helpful. Matching something is easy, developing beyond that to give it a unique quality is what keeps it interesting. Certain directors find it easier to work with non-specifics and let me interpret the vibe and mood from more emotional explanations rather than technical jargon. While sometimes harder to initially interpret, that approach has benefits because it’s a bit more open-ended.

Red Bull

WHAT IS THE PROJECT THAT YOU ARE MOST PROUD OF?
I love and hate most of the things I work on for a variety of reasons. It’s hard to pick one. Gun to my head? Probably a short film for Red Bull Music by Petite Noir. It was shot by Deon Van Zyl in the Namib desert and had just the most exquisite visuals from the outset. I still watch it when I’m feeling down.

WHERE DO YOU FIND INSPIRATION? ART? PHOTOGRAPHY?
At the risk of sounding like a typical millennial, I use Instagram a heck of a lot. I get to see what the biggest and best colorists are doing around the world. Before Instagram, you would only see pieces of critical acclaim. Now, through Instagram and Vimeo, I get to see so many passion projects in which people are trying new things and pushing boundaries beyond what clients, brands and studios want. I can spend days in galleries and bask in the glory of Caravaggio and Vermeer, but I can also scroll quickly through very contemporary looks, innovations and trends.

Red Bull

NAME THREE PIECES OF TECHNOLOGY YOU CAN’T LIVE WITHOUT.
My phone. I hate it, but my life happens largely through that porthole. My NutriBullet. My Baselight. I’ve never loved an inanimate object like I love my Baselight.

WHAT SOCIAL MEDIA CHANNELS DO YOU FOLLOW?
Instagram as mentioned. I love the work of Joseph Bicknell, Kath Raisch, Sofie Borup, Craig Simonetti, Matt Osborne and then anything that comes from The Mill channel. Also, a wide range of directors and the associated Vimeo links. I can honestly get lost on an obscure Korean channel with magnificent images and languages I don’t understand.

WHAT DO YOU DO TO DE-STRESS FROM IT ALL?
I run. Even If I’m breaking 90-hour weeks, I always make sure I run three or four times a week. And I love cooking. It’s expressive. I get to make meals for my partner Katherine, who tends to be very receptive.

DP Chat: Autumn Durald Arkapaw on The Sun Is Also a Star

By Randi Altman

Autumn Durald Arkapaw always enjoyed photography and making films with friends in high school, so it was inevitable that her path would lead to cinematography.

“After a genre course in college where we watched Raging Bull and Broadway Danny Rose I was hooked. From that day on I wanted to find out who was responsible for photographing a film. After I found out it was an actual job, I set out to become a DP. I immediately started learning what the job entailed and also started applying to film schools with my photography portfolio.”

The Sun Is Also a Star

Her credits are vast and include James Franco’s Palo Alto, the indie film One & Two, and music videos for the Jonas Brothers and Arcade Fire. Most recently she worked on Emma Forrest’s feature film Untogether, Max Minghella’s feature debut Teen Spirit and director Ry Russo-Young’s The Sun Is Also a Star, which follows a two young people who hit it off immediately and spend one magical day enjoying each other and the chaos that is New York City.

We recently reached out to Durald Arkapaw to find out more about these films, her workflow and more.

You’ve been busy with three films out this year — Untogether, Teen Spirit and The Sun Is Also a Star. What attracts you to a project?
I’m particular when it comes to choosing a narrative project. I have mostly worked with friends in the past and continue to do so. When making feature films, I throw myself into it. So it’s usually the relationship with the director and their vision that draws me first to a project.

Tell us about The Sun Is Also a Star. How would you describe the overall look of the film?
Director Ry Russo-Young and I wanted the film to feel grounded and not like the usual overlit/precious versions of these films we’ve all encountered. We wanted it to have texture and darks and lights, and the visuals to have a soulfulness. It was important that the world we created felt like an authentic and emotional environment.

Autumn Durald Arkapaw

How early did you get involved in the production? What were some of the discussions about conveying the story arc visually?
Ry and I met early on before she left for prep in New York. She shared with me her passion for wanting to make something new in this genre. That was always the basis for me when I thought about the story unfolding over one day and the arc of these characters. It was important for us to have the light show their progression through the city, but also have it highlight their love.

How did you go about choosing the right camera and lenses to achieve the look?
Ry was into anamorphic before I signed on, so it was already alluring to me once she sent me her look book and visual inspirations. I tend to shoot mostly in the Panavision anamorphic format, so my love goes deep for this medium. As for our camera, the ARRI Alexa Mini was our first choice since it renders a filmic texture, which is very important to me.

Any challenging scene or scenes that you are particularly proud of?
One of my favorite scenes/shots in the film is when Daniel (Charles Melton) sees Natasha (Yara Shahidi) for the first time in Grand Central Station. We had a Scorpio 23-foot telescopic crane on the ground floor. It is a beautiful shot that pulls out, booms down from Daniel’s medium shot in the glass staircase windows, swings around the opposite direction and pushes in while also zooming in on a 12:1 into an extreme closeup of Natasha’s face. We only did two takes and we nailed it on the first one. My focus puller, Ethan Borsuk, is an ace, and so is my camera operator, Andrew Fletcher. We all celebrated that one.

The Sun is Also a Star

Were you involved in the final color grading? What’s important to you about the collaboration between DP and colorist?
Yes, we did final color at Company 3 in New York. Drew Geary was our DI colorist. I do a lot of color on set, and I like to use the on-set LUT for the final as well. So, it’s important that my colorist and I share the same taste. I also like to work fast. Drew was amazing. He was fantastic to work with and added a lot to the overall look and feel.

What inspires you artistically?
Talented, inspiring, hardworking people. Because filmmaking is a team effort, and those around me inspire me to make better art.

How do you stay on top of advancing technology that serves your vision?
Every opportunity I get to shoot is an opportunity to try something new and tell a story differently. Working with directors that like to push the envelope is always a plus. Since I work a lot in commercials, that always affords me the occasion to try new technology and have fun with it.

Has any recent or new technology changed the way you work, looking back over the past few years?
I recently wrapped a film where we shot a few scenes with the iPhone. Something I would have never considered in the past, but the technology has come a long way. Granted the film is about a YouTube star, but I was happily surprised at how decent some of the stuff turned out.

What are some of your best practices or rules you try to follow on each job?
Always work fast and always make it look the best you can while, most importantly, telling the story.


Randi Altman is the founder and editor-in-chief of postPerspective. She has been covering production and post production for more than 20 years. 

Veteran episodic colorist Scott Klein joins Light Iron

Colorist Scott Klein has joined post house Light Iron, which has artists working on feature films, episodic series and music videos at its Los Angeles- and New York-based studios. Klein brings with him 40 years of experience supervising a variety of episodic series.

“While Light Iron was historically known for its capabilities with feature films, we have developed an equally strong episodic division, and Scott builds upon our ongoing commitment to providing the talent and technology necessary for supporting all formats and distribution platforms,” says GM Peter Cioni of Light Iron.

Klein’s list of credits include Fox’s Empire, HBO’s Deadwood: The Movie and Showtime’s Ray Donovan. He also collaborated on the series Bosch, True Blood, The Affair, Halt and Catch Fire, Entourage and The Sopranos. Klein is also an associate member of the American Society of Cinematographers (ASC). He will be working on Blackmagic’s DaVinci Resolve.

“I really enjoy the artistic collaboration with filmmakers,” he says. “It is great to be part of a facility with such a pure passion for supporting the creative through technology. Colorists need strong technology that serves as a means to best express the feelings being conveyed in the images and further enhance the moods that draw audiences into a story.”

Also joining Klein are his colleagues and fellow colorists Daniel Yang, Jesús Borrego and Ara Thomassian. They join Light Iron after working together at Warner Bros. and then Technicolor.

In addition to growing its team of artists to support the expanding market and client needs, Light Iron has also expanded its physical footprint with a second Hollywood-based location a short distance from its flagship facility. A full breadth of creative finishing services for feature films and episodic series is available at both locations. Light Iron also has locations in Atlanta, Albuquerque, Chicago and New Orleans.

 

Perpetual Grace’s DPs, colorist weigh in on show’s gritty look

You don’t have to get very far into watching the Epix series Perpetual Grace LTD to realize just how ominous this show feels. It begins with the opening shots, and by the time you’ve spent a few minutes with the dark, mysterious characters who populate this world — and gathered hints of the many schemes within schemes that perpetuate the story — the show’s tone is clear. With its black-and-white flashbacks and the occasional, gritty flash-forwards, Perpetual Grace gets pretty dark, and the action goes in directions you won’t see coming.

This bizarre show revolves around James (Westworld’s Jimmi Simpson), who gets caught up in what initially seems like a simple con that quickly gets out of control. Sir Ben Kingsley, Jacki Weaver, Chris Conrad and Luis Guzmán also star as an assortment of strange and volatile characters.

The series comes from the minds of executive producer Steve Conrad, who also served in that role on Amazon’s quirky drama Patriot, and Bruce Terris, who was both a writer and a first AD on that show.

These showrunners developed the look with other Patriot veterans: cinematographers James Whitaker and Nicole Hirsch Whitaker, who incorporated colorist Sean Coleman’s input before commencing principal photography.

Coleman left his grading suite at Company 3 in Santa Monica to spend several days at the series’ New Mexico location. While there he worked with the DPs to build customized LUTs for them to use during production. This meant that everyone on set could get a strong sense of how lighting, costumes, sets and locations would read with the show’s signature looks applied.

The Whitakers on set

“I’ve never been able to work with the final colorist this way,” says Whitaker, who also alternated directing duties with Conrad. “It was great having him there on set where we could talk about the subtleties of color. What should the sky look like? What should blood look like? Faces? Clothes? Using Resolve, he made two LUTs — “the main one for the color portions and a different one specifically for the black-and-white parts.”

The main look of the show is inspired by film noir and western movie tropes, and all with a tip of the hat to Roger Deakins’ outstanding work on The Assassination of Jesse James by the Coward Robert Ford. “For me,” says Whitaker, “it’s about strong contrast, deep blacks and desert colors … the moodier the better. I don’t love very blue skies, but we wanted to keep some tonality there.”

“It’s real sweaty, gritty, warm, nicotine-stained kind of thing,” Coleman elaborates.

“When we showed up in New Mexico,” Whitaker recalls, “all these colors did exist at various times of the day, and we just leaned into them. When you have landscapes with big, blue skies, strong greens and browns, you can lean in the other way and make it overly saturated. We leaned into it the other way, holding the brown earth tones but pulling out some of the color, which is always better for skin tones.”

The LUTs, Whitaker notes, offer a lot more flexibility than the DPs would have if they used optical filters. Beyond the nondestructive aspect of a LUT, it also allows for a lot more complexity. “If you think about a ‘sepia’ or ‘tobacco’ filter or something like that, you think of an overall wash that goes across the entire frame, and I get immediately bored by that. It’s tricky to do something that feels like it’s from a film a long time ago without dating the project you’re working on now; you want a lot of flexibility to get [the imagery] where you want it to go.”

The series was shot in November through February, often in brutally cold environments. Almost the entire series (the present-day scenes and black-and-white flashbacks) was shot on ARRI Alexa cameras in a 2.0:1 aspect ratio. A frequent Whitaker/Hirsch Whitaker collaborator, DIT Ryan Kunkleman applied and controlled the LUTs so the set monitors reflected their effect on the look.

The flash forwards, which usually occur in very quick spurts, were shot on a 16mm Bolex camera using Kodak’s 7203 (50D) and 7207 (250D) color negative film, which was pushed two stops in processing to enhance grain in post by Coleman.

Final color was done at Company 3’s Santa Monica facility, working primarily alongside the Whitakers. “We enhanced the noir look with the strong, detailed blacks,” says Coleman. Even though a lot of the show exudes the dry desert heat, it was actually shot over a particularly cold winter in New Mexico. “Things were sometimes kind of cold-looking, so sometimes we’d twist things a bit. We also added some digital ‘grain’ to sort of muck it up a little.”

For the black and white, Coleman took the color material in Resolve and isolated just the blue channel in order to manipulate it independent of the red and green, “to make it more inky,” he says. “Normally, you might just drain the color out, but you can really go further than that if you want a strong black-and-white look. When you adjust the individual channel, you affect the image in a way that’s similar to the effect of shooting black-and-white film through a yellow filter. It helps us make darker skies and richer blacks.”

Sean Coleman

“We’ve booked a whole lot of hours together, and that provides a level of comfort,” says Hirsch Whitaker about her and Whitaker’s work with Coleman. “He does some wonderful painting [in Resolve] that helps make a character pop in the frame or direct the viewer’s eye to a specific part of the frame. He really enjoys the collaborative element of color grading.”

Whitaker seconds that emotion: “As a cinematographer, I look at color grading a bit like working on set. It’s not a one-person job. It takes a lot of people to make these images.”


Glassbox’s virtual camera toolset for Unreal, Unity, Maya

Virtual production software company Glassbox Technologies has released its virtual camera plugin DragonFly from private beta for public use. DragonFly offers professional virtual cinematography tools to filmmakers and content creators, allowing users to view character performances and scenes within computer-generated virtual environments in realtime, through the camera’s viewfinder, an external monitor or iPad.

Available for Unreal Engine, Unity 3D and Autodesk Maya, DragonFly delivers an inclusive virtual cinematography workflow that allows filmmakers and content creators to make and test creative decisions faster and earlier in the process, whittling down production cost on projects of all scopes and sizes.

This off-the-shelf toolkit allows users to create previz to postviz without the need for large teams of operators, costly hardware or proprietary tools. It is platform-agnostic and fits seamlessly into any workflow out of box. Users can visualize and explore a CG virtual environment, then record, bookmark, create snapshots and replicate real camera movement as seamlessly as conducting a live-action shoot.

“Virtual production poses great potential for creators, but there were no off-the-shelf filming solutions available that worked out of the box,” notes co-founder/CPO Mariana Acuña. “In response, we made DragonFly: a virtual window that allows users to visualize complex sets, environments and performances through a viewfinder. Without the need for a big stage or mocap crew, it brings greater flexibility to the production and post pipeline for films, animation, immersive content, games and realtime VFX.”

The product was developed in collaboration with top Hollywood visualization and production studios, including The Third Floor for best-in-class results.

“Prior to DragonFly, each studio created its own bespoke virtual production workflow, which is costly and time-consuming per project. DragonFly makes realtime virtual production usable for all creators,” says Evelyn Cover, global R&D manager for The Third Floor. “We’re excited to collaborate with the Glassbox team to develop and test  DragonFly in all kinds of production scenarios from previz to post, with astounding success.”

Glassbox’s second in-beta virtual production software solution, BeeHive — the multi-platform, multi-user collaborative virtual scene syncing, editing and review solution–is slated to launch later this summer.

DragonFly is now available for purchase or can be downloaded for free as a 15-day trial from the Glassbox website. Pricing and licensing includes a permanent license option costing $750 USD (including $250 for the first year of support and updates) and an annual rental option costing $420 a year.

DP Chat: Good Omens cinematographer Gavin Finney

By Randi Altman

London-born cinematographer Gavin Finney, BSC, has a wealth of television series and film experience under his belt, including Wolf Hall, The Fear and the upcoming series based on the film of the same name, Hulu’s Four Weddings and a Funeral. One of his most recent projects was the six-episode Amazon series Good Omens, starring Michael Sheen (Aziraphale) and David Tennant (Crowley) as an angel and a demon with a very long history, who are tasked with saving the world. It’s based on the book by Neil Gaiman and Terry Pratchett.

Finney was drawn to cinematography by his love of still photography and telling stories. He followed that passion to film school and fell in love with what could be done with moving images.

Let’s find out more about Finney and his work on Good Omens.

How would you describe the look of Good Omens? How did you work with the director/s/producers to achieve the look they wanted?
There is a progression through the story where things get increasingly strange as Adam (who our main characters believe is the antichrist) comes into his powers, and things in his head start manifesting themselves. It is also a 6,000-year-long buddy movie between an angel and a demon! There is Adam’s world — where everything is heightened and strangely perfect — and Aziraphale and Crowley’s world of heaven and hell. At some point, all these worlds intersect. I had to keep a lot of balls in the air in regard to giving each section its own look, but also making sure that when these worlds collide, it still makes sense.

Each era depicted in the series had a different design treatment — obviously in the case of costume and production design — but also in the way we shot each scene and the way they were lit. For instance, Neil Gaiman had always imagined the scene in the church in the blitz in Episode 3 to be an homage to the film noir style of the time, and we lit and photographed it in that style. Ancient Rome was given the patina of an Alma-Tadema oil painting, and we shot Elizabethan London in an exact recreation of Shakespeare’s Globe Theatre. The ‘60s were shot mainly on our Soho set, but redressed with posters from that time, and we changed the lighting to use more neon and used bare bulbs for signage.

I also graded the dailies throughout production on DaVinci Resolve, adding film grain and different looks to different time periods to help anchor where we were in the story. Neil wanted heaven and hell to feel like two parts of the same celestial building, so heaven occupied the best penthouse offices, and hell was stuck in the damp, moldy basement where nothing works properly.

We found a huge empty building for the heaven set that had shiny metal flooring and white walls. I frosted all the windows and lit them from outside using 77 ARRI Skypanels linked to a dimmer desk so we could control the light over the day. We also used extremely wide-angle lenses such as the Zeiss rectilinear 8mm lens to make the space look even bigger. The hell set used a lot of old, slightly greenish fluorescent fittings, some of them flickering on and off. Slimy dark walls and leaking pipes were added into the mix.

For another sequence Neil and Douglas wanted an old-film look. To do this, ARRI Media in London constructed a hand-cranked digital camera out of an old ARRI D21 camera and connected it to an ARRI 435 hand-crank wheel and then to a Codex recorder. This gave us a realistic, organic varis-peed/vari-exposure look. I added a Lensbaby in a deliberately loose mount to emulate film weave and vignetting. In this way I was able to reproduce very accurately the old-style, hand-cranked black and white look of the first days of cinema.

How early did you get involved in the production?
I’d worked with the director Douglas Mackinnon a few times before (on Gentlemen’s Relish and The Flying Scotsman), and I’d wanted to work with him again a number of times but was never available. When I heard he was doing this project, I was extremely keen to get involved, as I loved the book and especially the kind of world that Neil Gaiman and Terry Pratchett were so good at creating. Fortunately, he asked me to join the team, and I dropped everything I was doing to come on board. I joined the show quite late and had to fly from London to Cape Town on an early scout the day after getting the job!

How did you go about choosing the right camera and lenses for this project?
We shot on Leica Summilux Primes and ARRI Alura zooms (15.5-45mm and 45-
250mm) and ARRI Alexa SXT and Alexa Mini cameras outputting UHD 4K files. The Alexa camera is very reliable, easy to work with, looks great and has very low noise in the color channels, which is useful for green/bluescreen work. It can also shoot at 120fps without cutting into the sensor size. We also had to make sure that both cameras and lenses were easily available in Cape Town, where we filmed after the
UK section.

The Alexa output is also very flexible in the grade, and we knew we were going to be pushing the look in a number of directions in post. We also shot with the Phantom Flex 4K high-speed camera at 1,000fps for some scenes requiring ultra-slo motion, and for one particular sequence, a specially modified ARRI D-21 that could be “hand-cranked” like an old movie camera.

You mentioned using Resolve on set. Is this how you usually work? What benefit did you get from doing this?
We graded the dailies on Blackmagic’s DaVinci Resolve with our DIT Rich
Simpson. We applied different looks to each period of the story, often using a modified film emulation plugin. It’s very important to me that the dailies look great and that we start to establish a look early on that can inform the grade later.

Rich would bring me a variety of looks each day and we’d pick the one we liked for that day’s work. Rich was also able to export our selected looks and workflow to the South African DIT in Cape Town. This formed the starting point of the online grade done at Molinare on FilmLight Baselight under the hugely capable hands of Gareth Spensley. Gareth had a big influence on the look of the series and did some fantastic work balancing all the different day exteriors and adding some magic.

Any challenging scenes you are particularly proud of?
We had some very big sets and locations to light, and the constantly moving style of photography we employed is always a challenge to light — you have to keep all the fixtures out of shot, but also look after the actors and make sure the tone is right for the scene. A complicated rig was the Soho street set that Michael Ralph designed and built on a disused airbase. This involved four intersecting streets with additional alleyways, many shops and a main set — the bookshop belonging to Aziraphale.

This was a two-story composite set (the interior led directly to the exterior). Not only did we have to execute big crane moves that began looking down at the whole street section and then flew down and “through” the windows of the bookshop and into an interior scene. We also had to rig the set knowing that we were going to burn the whole thing down.

Another challenge was that we were filming in the winter and losing daylight at 3:30pm but needing to shoot day exterior scenes to 8pm or later. My gaffer (Andy Bailey) and I designed a rig that covered the whole set (involving eight cranes, four 18Kw HMIs and six six-meter helium hybrid balloons) so that we could seamlessly continue filming daylight scenes as it got dark and went to full night without losing any time. We also had four 20×20-foot mobile self-lighting greenscreens that we could move about the set to allow for the CGI extensions being added later.

What inspires you artistically? And how do you simultaneously stay on top of advancing technology that serves your vision?
The script inspires me artistically. If I don’t love the story and can’t immediately “see” how it might look, I don’t do it. After that, I’m inspired by real life and the way changing light utterly transforms a scene, be it a landscape or an interior. I also visit art galleries regularly to understand how other people see, imagine and communicate.

What new technology has changed the way you work (looking back over the past few years)?
Obviously, digital cinematography has had a huge impact. I trained in film and spent the first 16 years of my career shooting film exclusively, but I was happy to embrace digital when it came in. I love keeping up with all the advances.

Lighting is also going digital with the advent of LED fixtures with on-board computers. I can now dial any gel color or mix my own at any dimmer level from an app on my phone and send it to dozens of fixtures. There is an incredible array of tools now at our disposal, and I find that very exciting and creatively liberating.

What are some of your best practices or rules you try to follow on each job?
I tend to work on quite long jobs — my last two shows shot for 109 and 105 days, respectively. So keeping to sensible hours is critical. Experienced producers who are concerned with the welfare, health and safety of their crew keep to 10 hours on camera, a one-hour lunch and five-days weeks only. Anything in excess of that results in diminishing returns and an exhausted and demoralized crew.

I also think prep time is incredibly important, and this is another area that’s getting squeezed by inexperienced producers to the detriment of the production. Prep time is a comparatively cheap part of the process but one that reaps huge dividends on the shoot. Being fully prepared, making the right location and set design choices, and having enough to time to choose equipment and crew and work out lighting designs all make for a smooth-running shoot.

Explain your ideal collaboration with the director when setting the look of a project.
This goes back to having enough prep time. The more time there is to visit possible locations and simply talk through all the options for looks, style, movement and general approach the better. I love working with visual directors who can communicate their ideas but who welcome input. I also like being able to ditch the plan on the day and go with something better if it suddenly presents itself. I like being pushed out of my comfort zone and challenged to come up with something wonderful and fresh.

What’s your go-to gear — things you can’t live without?
I always start a new production from scratch, and I like to test everything that’s available and proven in the field. I like to use a selection of equipment — often different cameras and lenses that I feel suit the aesthetic of the show. That said, I think
ARRI Alexa cameras are reliable and flexible and produce very “easy to work with” images.

I’ve been using the Letus Helix Double and Infinity (provided by Riz at Mr Helix) with an Exhauss exoskeleton support vest quite a lot. It’s a very flexible tool that I can operate myself and it produces great results. The Easyrig is also a great back-saver when doing a lot of handheld-work, as the best cameras aren’t getting any lighter.

Apart from that, comfortable footwear and warm, waterproof clothing are essential!


Randi Altman is the founder and editor-in-chief of postPerspective. She has been covering production and post production for more than 20 years. 

DP Chat: Catch-22’s Martin Ruhe, ASC

By Randi Altman

For the bibliophiles out there, you know Catch-22 as the 1961 book by Joseph Heller. Cinephiles might remember the 1970 film of the same name starring Alan Arkin. And for those who are familiar with the saying, but not its origins, a Catch-22 is essentially a no-win situation. The famous idiom comes from the book — specifically the main character, Captain John Yossarian, a World War II bombardier who finds himself needing to escape the war, but rules and regulations hold him back.

Martin Ruhe (right) on-set with George Clooney.

Now there is yet another Catch-22 to point to: Hulu’s miniseries, which stars Christopher Abbott, Kyle Chandler, Hugh Laurie and George Clooney. Clooney is also an executive producer, alongside Grant Heslov, Luke Davies, David Michôd, Richard Brown, Steve Golin and Ellen Kuras. The series was written by Davies and Michôd and directed by Clooney, Heslov and Kuras, who each directed two episodes. It was shot entirely in Italy.

We recently reached out to the show’s German-born DP, Martin Ruhe, ASC, to find out about his workflow on the series and how he became a cinematographer.

Tell us about Catch-22. How would you describe the look of the film that you and the directors wanted to achieve?
George was very clear — he wanted to push the look of the show toward something we don’t see very often these days in TV or films. He wanted to feel the heat of the Italian summer.

We also wanted to contrast the absurdity of what happens on the ground with the claustrophobic and panic of the aerial work. We ended up with a strong warm tone and a lot of natural light. And we move the camera as if we‘re always with our hero (Abbott). Very often we travel with him in fluent camera moves, and then we contrast that with shaky hand-held camera work in the air. It was good fun to be able to have such a range to work with.

Were you given examples of the look that was wanted?
We looked at newsreel footage from the period and at stills and benefitted from production designer David Gropman‘s research. Then I took stills when we did camera tests with our actors in costume. I worked on those on my computer until we got to a place we all liked.

Stefan Sonnenfeld at Company 3 did the grading for the show and loved it. He gave us a LUT that we used for our dailies. Later, when we did the final grade, we added film grain and refined our look to what it is now.

How early did you get involved in the production?
I spoke with George Clooney and Grant Heslov for the first time four months before we started to shoot. I had eight weeks of prep.

How did you go about choosing the right camera and lenses for this project?
A lot of the scenes were happening in very small spaces. I did a lot of research on smaller cameras, and since we would have a lot of action scenes in those planes, I did not want to use any cameras with a rolling shutter.

I ended up using Arri Alexa Minis with Cooke S4 lenses and also some Flare cameras by IO industries, which could record 4K raw to Q7 Odyssey recorders. We mounted those little ones on the planes whenever they were flying for real. We also used it for the parachute jump.

This is a period piece. How did that affect your choices?
The main effect was the choice of light sources when we shot interiors and night scenes. I love fluorescents, and they existed in the period, but just not in those camps and not in the streets of Rome at night. We used a lot of practicals and smaller sources, which we spread out in the little streets of a small town where we shot, called Viterbo (standing in for Rome).

Another thing I learned was that in those camps at night, lights were blacked out. That meant we were stuck with moonlight and general ambience for night scenes, which we created with HMI sources — sometimes direct if we needed to cover big areas, like when the air base gets attacked at night in Episode 5.

Any challenging scenes that you are particularly proud of or found most challenging? 
In the end of Episode 5, Yossarian’s plane loses both engines in combat and goes down. We see YoYo and others escape the plane, while the pilot takes the plane over water and tries to land it. It’s a very dramatic scene.

We shot some exteriors of the real B25 Mitchell over Sardinia. We mounted camera systems in a DC3 and our second Mitchell to get the shots with the real planes. The destruction on the engines and the additional planes were added in post. The interiors of our actors in the plane were shot at Cinecitta Studios in Rome. We had a fuselage of a real B-25 on a gimbal. The studio was equipped with a 360-degree screen and a giant top light.

In the plane, we shot with a hand-held ARRI Alexa Mini camera. It was only the actors, myself and my focus puller inside. We never altered the physical space of the plane but instead embraced the claustrophobia. We see all of the crew members getting out — only the pilot stays on board. There was so little physical space for our actors since the fuselage was rigged to the gimbal, and then we also had to create the lighting for them to jump into within a couple of feet of space.

Then, when Yossarian leaves the plane, we actually put a small camera on a stuntman while another stuntman in Yossarian’s wardrobe did a real jump. We combined that with some plate shots from a helicopter (with a 3D plane in it) and some shots of our actor on a rig on the backlot of Cinecitta.

It all worked out. It was always our goal to shoot as many real elements as we could and leave the rest with post.

Stepping away from Catch-22. How did you become interested in cinematography?
I grew up in a small town in western Germany. No one in my family had anything to do with film. I loved movies and wanted to work on them as a director. After a little journey, I got an internship at a camera rental in London. It was then I saw for the first time what cinematographers do. I loved it and knew that was it. Then I studied in Berlin, became a focus puller for a couple of years and started working as a DP on music videos, then commercials and then, a little later, films.

What inspires you artistically?
Photography and movies. There is a lot of good work out there by a lot of talented DPs. I love to look at photographers I like as well as some documentary stills like the ones you see in the World Press Photo contest once a year. I love it when it is real. There are so many images around us every day, but if I don’t believe them (where they seem real to me), they are just annoying.

Looking back over the last few years, what new technology has changed the way you work?
Maybe LED lighting and maybe the high sensitivity of today’s digital cameras. You are so much more free in your choice of locations, days and, especially, night work because you can work with fewer lights.

What are some of your best practices or rules you try to follow on each job?
Keep it as simple as you can, and stay true to your vision.

Explain your ideal collaboration with the director when setting the look of a project.
I’m not sure there is just one way to go. After reading the script, you have an idea of what it can be, and then you start getting the information of the where and in what frame you will work.

Martin Ruhe behind the ARRI Alexa.

I love to spend time with my directors in prep — going to the locations, seeing them in different light, like mornings, noon or during night. Then I love to work with stills and sometimes also reference pictures to show what I think it can be and present a way we can get there. It’s always very important to leave some space for things to develop.

What’s your go-to gear — things you can’t live without?
I look for the right gear for each project. I like ARRI cameras, but I’ve also shot two movies with Panavision cameras.

I have shot movies in various countries, and the early ones didn’t have big budgets, so I tried to work with local crew and gear that was available. The thing I like about that is you get to know different ways of doing things, and also you might work with gear you would have never picked yourself. It keeps you flexible. When I start a project, I am trying to develop a feel for the story and the places it lives. Once I have that feel, I start into how and decide what tools I’ll use.

Photo Credit: Philippe Antonello


Randi Altman is the founder and editor-in-chief of postPerspective. She has been covering production and post production for more than 20 years. 

Amazon’s Sneaky Pete: DP Arthur Albert on the look of Season 3

By Karen Moltenbrey

Crime has a way of finding Pete Murphy, or should we say Marius Josipovic (Giovanni Ribisi). Marius is a con man who assumed his cellmate’s identity when he was paroled from prison. His plan was twofold: first, pretend to be the still-incarcerated Pete, from whom the family has been estranged for the past 20 years, and hide out on their farm in Connecticut. Second, con the family out of money so he can pay back a brutal mobster (Bryan Cranston, who also produces).

Arthur Albert

Marius’s plan, however, is flawed. The family is lovable, \ quirky and broke. Furthermore, they are in the bail bond business and one of his “cousins” is a police officer — not ideal for a criminal. Ultimately, Marius starts to really care for the family while also discovering that his cover is not that safe.

Similar to how Marius’ plans on Sneaky Pete have changed, so has the show’s production on the current and final Season 3, which is streaming on Amazon now. This season, the story shifts from New York to California, in tandem with the storylines. Blake Masters also took over as showrunner, and cinematographer Arthur Albert (ER, The Blacklist, Breaking Bad, Better Call Saul) came on as director of photography, infusing his own aesthetic into the series.

“I asked Blake if he wanted me to maintain the look they had used previously, and he said he wanted to put his own stamp on it and raise the bar in every department. So, I had free rein to change the look,” notes Albert.

The initial look established for Sneaky Pete had a naturalistic feel, and the family’s bail office was lit with fluorescent lighting. Albert, in contrast, opted for a more cinematic look with portrait-style lighting. “It’s just an aesthetic choice,” he says. “The sets, designed by (Jonathan) Carlson, are absolutely brilliant, and I tried to keep them as rich and layered as possible.”

For Manhattan scenes, Masters wanted a mid-century, modern look. “I made New York moody and as interesting as I could — cooler, more contrasty,” says Albert. When the story shifts to Southern California, Masters asked for a bright, more vibrant look. “There’s a big location change. For this season, you want to feel that change. It’s a big decision for the whole family to pick up their operation and move it, so I wanted the overall look of the show to feel new and different.”

The edginess and feeling of danger, though, comes less from the lighting in this show and more from the camera movement. The use of Steadicam gives it a bit of a stalking feel, serving as a moving viewpoint.

When Albert first met with Masters, they discussed what they thought worked in previous episodes. They liked the ones that used handheld and close-up shots that were wide and close to the actor, but in the end they went with a more traditional approach used by Jon Avnet, who directed four of the 10 episodes this season.

Season 3 was primarily shot with two cameras (Albert’s son, Nick, served as second-unit DP and A-camera operator, and Jordan Keslow, B-camera/Steadicam operator). A fan of Red cameras — Albert used an early incarnation for the last six episodes of ER – he employed Red’s DSMC2 with the new Gemini 5K S35 sensor for Season 3. The Gemini leverages dual sensitivity modes to provide greater flexibility for a variety of shooting environments.

The DP also likes the way it renders skin tones without requiring diffusion. “The color is really true and good, and the dynamic range is great. It held for really bright window areas and really dark areas, both with amazing range,” he says. The interiors of the sets were filmed on a stage in Los Angeles, and the exteriors were shot on location afterward. With the Gemini’s two settings (standard mode for well-lit conditions and a low-light setting), “You can shoot a room where you can barely see anyone, and it looks fully lit, or if it’s a night exterior where you don’t have enough time, money or space to light it, or in a big set space where suddenly you want to shoot high speed and you need more light. You just flip a switch, and you’ve got it. It was very clean with no noise.”

This capability came in handy for a shoot in Central Park at night. The area was heavily restricted in terms of using lights. Albert used the 3200 ISO setting and the entire skyline of 59th Street was visible — the clouds and how they reflected the light of the buildings, the detail of the night sky, the silhouettes of the buildings. In another similar situation, he used the low-light setting of the camera for a night sequence filmed in Grand Central Terminal. “It looked great, warm and beautiful; there is no way we could have lit that vast space at night to accommodate a standard ISO,” says Albert.

As far as lenses on Sneaky Pete, they used the Angenieux short zooms because they are lightweight and compact, can be put on a Steadicam and are easy to hold. “And I like the way they look,” Albert says. He also used the new Sigma prime lenses, especially when an extreme wide angle was needed, and was impressed with their sharpness and lack of distortion.

Throughout filming, the cinematographer relied on Red’s IPP2 (image processing pipeline) in-camera, which resulted in a more effective post process, as it is designed for an HDR workflow, like Sneaky Pete — which is required by Amazon.

The color grade for the series was done at Level 3 Post by Scott Ostrowsky, who had also handled all the previous seasons of Sneaky Pete and with whom Albert had worked with on The Night Shift and other projects. “He shoots a very cinematic look and negative. I know his style and was able to give him that look before he came into the suite. And when we did the reviews together, it was smooth and fast,” Ostrowsky says. “At times Sneaky Pete has a very moody look, and at times it has a very open look, depending on the environment we were shooting in. Some of the dramatic scenes are moody and low-light. Imagine an old film noir movie, only with color. It’s that kind of feel, where you can see through the shadows. It’s kind of inky and adds suspense and anticipation.”

Ostrowsky worked with the camera’s original negative — “we never created a separate stream,” he notes. “It was always from the camera neg, unless we had to send a shot out for a visual effects treatment.”

Sneaky Pete was shot in 5K, from which a 3840×2160 UHD image was extracted, and that is what Ostrowsky color graded. “So, if I needed to use some kind of window or key, it was all there for me,” he says. Arthur or Nick Albert would then watch the second pass with Ostrowsky, who would make any further changes, and then the producers would watch it, adding their notes. Ostrowsky worked used the Blackmagic DaVinci Resolve.

“I want to make the color work for the show. I don’t want the color to distract from the show. The color should tell the story and help the story,” adds Ostrowsky.

While not every change has been for the best for Pete himself since Season 1, the production changes on Sneaky Pete’s last season appear to be working just fine.


Karen Moltenbrey is a veteran VFX and post writer.

Rocketman director Dexter Fletcher on Elton John musical

By Iain Blair

The past year has been huge for British director Dexter Fletcher. He was instrumental in getting Bohemian Rhapsody across the finish line when he was brought in to direct the latter part of the production after Bryan Singer was fired. The result? A $903 million global smash that Hollywood never saw coming.

L-R: Dexter Fletcher and Iain Blair

Now he’s back with Rocketman, another film about another legendary performer and musician, Elton John. But while the Freddie Mercury film was more of a conventional, family-friendly biopic that opted for a PG-13 rating and approach that sidestepped a lot of the darker elements of the singer’s life, Rocketman fully embraces its R-rating and dives headfirst into the sex, drugs and rock ‘n’ roll circus that was Elton’s life at the time — hardly surprisingly, the gay sex scenes have already been censored in Russia.

Conceived as an epic musical fantasy about Elton’s breakthrough years, the film follows the transformation of shy piano prodigy Reginald Dwight into international superstar Elton John. It’s set to Elton’s most beloved songs — performed by star Taron Egerton — and tells the story of how a small-town boy became one of the most iconic figures in pop culture.

Rocketman also stars Jamie Bell as Elton’s longtime lyricist and writing partner, Bernie Taupin; Richard Madden as Elton’s first manager John Reid; and Bryce Dallas Howard as Elton’s mother Sheila Farebrother.

Fletcher started as a child actor, appearing in such films as Bugsy Malone, The Elephant Man and The Bounty before graduating to adult roles in film (Lock, Stock and Two Smoking Barrels) and TV (Band of Brothers). He made his directing debut with 2012’s Wild Bill and has since made a diverse slate of films, including Eddie the Eagle.

I recently met up with him to talk about making the film and his workflow.

When you took this on, were you worried you’d now be seen as the go-to director for films about gay British glam rockers?
(Laughs) No, and I never set out to create this specific cinematic universe about gay British glam rockers. I don’t know how many more of them there are left that people want to see films about — maybe Marc Bolan. That would be the next obvious one.

Dexter Fletcher and Taron Egerton on the set of Rocketman.

What happened was that I was attached early on to direct Bohemian Rhapsody, but then Rocketman came up. While I was preparing that, Bohemian Rhapsody folks came back (after director Bryan Singer was fired during the shoot) and said they needed some help to get it done, so it was more of a coincidence, and Elton’s music is so different from Queen’s.

What sort of film did you set out to make?
Definitely an epic musical, and something that was different and imaginative. The first idea that came up was “based on a true fantasy,” and having done biopics before, like Eddie the Eagle, I know you can’t do them accurately. You simply can’t fit a life into two hours, and there’s always people who nitpick it and go, “He’s wearing the wrong shoes, and it missed this bit” and so on. A biopic isn’t a documentary, and you have to breathe creative life into it. The truth/fantasy element of this was far more important to me in telling Elton’s story than doing a by-the-numbers recreation of his career and life.

Casting was obviously crucial. What did Taron bring to the mix?
A great voice, a great performance, and Elton encouraged him to really make the performance his own. He kept saying, “Do your own thing, don’t just copy me. If they wanted just a copy of my music, they can just buy it. So make it original.”

Taron has this great innate ability of being vulnerable and confident at the same time, and that’s a great gift. He’s able to be very driven and focused and yet retain that inner vulnerability and able to show you both sides clashing, which I felt was very true of Elton.

So Elton gave you a pretty free hand?
Yeah, he did. He sat us down right at the start and said to Taron, “Don’t do an impression of me. No one wants that. Do you, honestly, and that’s what will convince an audience and draw them in.” He was right, and he was extremely giving and generous with us. He’s had this incredible life, and he’s putting it all out there on the big screen, which is pretty brave.

In Bohemian Rhapsody, Rami lipsynced, partly because Freddie Mercury famously had this amazing range that’s so hard to replicate. Taron sang all his vocals?
He did, every note. It was prerequisite for the role, and he wanted to anyway. A musical is very different from a biopic.

You took an imaginative visual approach to the story, especially with all the fantasy elements. How did you collaborate on the look with DP George Richmond, who has shot all your films, whose credits include Tomb Raider and the Kingsman franchise.
He’s got a great eye, and we looked at a lot of the great ‘70s musicals, like The Rose, All That Jazz and Stardust, and there’s this dusty, raw, grainy quality to them. I really wanted to get that feel and texture as this is a period piece and I didn’t want it to look too modern.

So we studied the camera moves and lighting, and it was the same with all the costumes by Julian Day. Elton’s outrageous outfits were the starting point, but we pushed it a little further. So it’s about emotion and how you felt more than just recreating a look or costume or a chronological retelling, and I elaborated as much as possible.

How tough was the shoot?
Fairly grueling. We shot mainly at Bray Studios, outside London, where they shot all the old Hammer Film Productions horror films, and then did some stuff in London.

Where did you post?
We did it at Hireworks in London, which is above this beautiful old cinema, right in the heart of London. It was really conducive for the editing and what we were creating. Then we did all the sound and the mixing round the corner at Goldcrest.

Do you like the post process?
I love it, and I love it more and more now. It’s this whole side of filmmaking that I never really appreciated as an actor, as I didn’t have much to do with it. But now I can’t wait to get in the edit, and I’m there every day, and I’m very involved with every aspect of post.

Talk about editing with Chris Dickens. What were the big editing challenges?
I’d never worked with him before, though we’d met for another project. He was on the set with us at Bray where he had edit rooms set up, so that was very convenient. He’d start assembling and I could just walk over and check on it all. We had a rough assembly just two weeks after we finished shooting, and as I said, I’m very involved.

We’d discuss stuff, especially all the big musical numbers. Those were the big challenges, as you have to make the music and visuals all work together, and you’re working to a playback track. You’re also very exposed when it comes to changing the tempo or rhythm of a scene. You can’t just cut a few words, as you’re locked into the track. And everyone knows the songs. Songs like “Your Song” and “Don’t Let The Sun Go Down On Me” were done totally live, so it was pretty complicated. But Chris is very experienced with all that, as he cut Slumdog Millionaire. That end musical number there is a total triumph of editing.

Talk about the importance of sound and music. I assume Elton was quite involved and listened to everything?
He was very interested, of course, but he let us all do our own thing. Giles Martin, son of Beatles’ producer George Martin, was in charge of the music. He’s an amazing producer in his own right, and he also has a long history with Elton, who stayed at his house when Giles was young. So there’s a very strong relationship there, and that was key in terms of dealing with Elton’s music legacy.

Giles was the custodian of all that and was instrumental in re-imagining all of Elton’s songs in the most interesting ways, and Elton would listen to them and love it. For instance, at first we thought “Crocodile Rock” wouldn’t fit, but we re-did it in this elevated, really hard rock way, and it worked out so well. We recorded at various places, including Abbey Road and Air Studios and, of course, we spent a lot of time and detail on all the music and sound. Just like with ‘Bohemian Rhapsody,’ if you don’t get that right, the film’s not going to work.

Visual effects play a big role. What was involved?
Cinesite in Montreal did them all, with a few by Atomic Arts, and we had a lot of artists and VFX guys working on them. We had so many, from fireworks to scenes with people floating and all the crowd scenes at stadiums, where we had to recreate fans in the ‘70s. So some of that stuff was fairly standard, but they did a brilliant job. I quite like working with VFX, as it allows you to do so much more with a period piece like this.

Where did you do the DI, and how important is it to you?
We did it at Goldcrest with colorist Rob Pizzey, and it’s very important to myself and my DP George Richmond. As I said, we wanted to get a very particular look and texture to it, and George and I worked closely on that from the very outset. Then in the DI, Rob and George worked very closely on it. In fact, George was shooting in Boston at the time, but he flew back to do it and finalize the look. I’m learning so much from him about the DI, and I give my notes and they make all the changes and adjustments. I love the DI.

Did the film turn out the way you hoped?
Absolutely. I’m really happy with it. In fact, it’s turned out better than I hoped.

What’s next?
I don’t have anything lined up. I’m out of work!


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.

Whiskey Cavalier DPs weigh in on the show’s look, DITs

While ABC recently cancelled freshman series Whiskey Cavalier, their on-set workflow is an interesting story to tell. The will-they-won’t-they drama featured FBI agent Will Chase (Scott Foley) and CIA operative Frankie Trowbridge (Lauren Cohan) — his codename is Whiskey Cavalier and hers is Fiery Tribune. The two lead an inter-agency team of spies who travel all over the world, periodically saving the world and each other, all while navigating friendship, romance and office politics.

David “Moxy” Moxness

Like many episodic television shows, Whiskey Cavalier used two cinematographers who alternated episodes so that the directors could work side-by-side with a cinematographer while prepping. David “Moxy” Moxness, CSC, ASC, shot the pilot. Moxness had previously worked on shows like Lethal Weapon, Fringe and Smallville and was just finishing another show when Warner Bros. sent him the pilot script.

“I liked it and took a meeting with director Peter Atencio,” explains Moxness. “We had a great meeting and seemed to be on the same page creatively. For me, it’s so much about collaborating on good shows with great people. Whiskey gave me that feeling.” Sid Sidell, ASC, a friend and colleague of Moxness’, was brought on as the second DP.

While Whiskey Cavalier’s plot has its two main characters traveling all over the world, principal photography took place in Prague. Neither cinematographer had worked there previously, although Moxness had passed through on vacation years before. While prepping and shooting the pilot, Moxness developed the look of the show with director Atencio. “Peter and I had the idea of using the color red when our lead character Will Chase was conflicted emotionally to trigger an emotional response for him,” he explains. “This was a combo platter of set dressing, costumes and lighting. We were very precise about not having the color red in frame other than these times. Also, when the team was on a mission, we kept to a cooler palette while their home base, New York, used warmer tones.”

This didn’t always prove to be straightforward. “You still have to adjust to location surroundings — when scouting for the pilot, I realized Prague still had mostly sodium vapor streetlights, which are not often seen in America anymore,” explains Moxness. “This color was completely opposite to what Peter and I had discussed regarding our nighttime palette, and we had a big car chase over a few nights and in different areas. I knew time and resources would in no way allow us to change or adjust this, and that I would have to work backwards from the existing tones. Peter agreed and we reworked that into our game. For our flashbacks, I shot 35mm 4-perf film with an ARRI IIC hand-cranked camera and Kowa lenses. That was fun! We continued all of these techniques and looks during the series.”

DITs
Mission, a UK-based DIT/digital services provider serving Europe, was brought on to work beside the cinematographers. Mission has an ever-expanding roster of DITs and digital dailies lab operators and works with cinematographers from preproduction onward, safeguarding their color decisions as a project moves from production into post.

Moxness and Sidell hadn’t worked with Mission before, but a colleague of Moxness’ had spoken to him about the experience of working with Mission on a project the year before. This intrigued Moxness, so he was waiting for a chance to work with them.

“When Whiskey chose to shoot in Prague I immediately reached out to Mission’s managing director, Mark Purvis,” explains Moxness. “Mark was enthusiastic about setting us up on Whiskey. After a few conversations to get to know each other, Mark suggested DIT Nick Everett. Nick couldn’t have been a better match for me and our show.”

Interestingly, Sidell had often worked without a DIT before his time on Whiskey Cavalier. He says, “My thoughts on the DP/DIT relationship changed drastically on Whiskey Cavalier. By choice, before Whiskey, I did the majority of my work without a DIT. The opportunity to work alongside Nick Everett and his Mission system changed my view of the creative possibilities of working with a DIT.”

Gear
Whiskey Cavalier was shot with the ARRI Alexa Mini and primarily ARRI Master Prime lenses with a few Angenieux zooms. Both Moxness and Sidell had worked with the Mini numerous times before, finding it ideal for episodic television. The post workflow was simple. On set, Everett used Pomfort’s LiveGrade to set the look desired by the cinematographers. Final color was done at Picture Shop in Los Angeles by senior colorist George Manno.

Moxy (behind camera) and director/EP Peter Atencio (to his right) on the Prague set.

“There are a few inherent factors shooting episodic television that can, and often do, handcuff the DP with regards to maintaining their intended look,” says Moxness. “The shooting pace is very fast, and it is not uncommon for editorial, final color and sometimes even dailies to happen far away from the shooting location. Working with a properly trained and knowledgeable DIT allows the DP to create a desired look and get it into and down the post pipeline to maintain that look. Without a proper solid roadmap, others start to input their subjective vision, which likely doesn’t match that of the DP. When shooting, I feel a strong responsibility to put my thumbprint on the work as I was hired to do. If not, then why was I chosen over others?”

Since successfully working on Whiskey Cavalier in Prague, Mission has set up a local office in Prague, led by Mirek Sochor and dedicated to Mission’s expansion into Central Europe.

And Moxness will be heading back to Prague to shoot Amazon’s The Wheel of Time.

 

DP Chat: Brandon Trost on the Ted Bundy film Extremely Wicked

By Randi Altman

To say that cinematographer Brandon Trost was born to work in the entertainment industry might not be hyperbole. This fourth-generation Angeleno has family roots in the industry — from his dad who did visual/physical effects, to his great uncle, actor Victor French (Little House on the Prairie).

Channeling his innate creativity, Trost studied cinematography at The Los Angeles Film School. His career kicked into high gear after winning the Best Cinematography award at the Newport Beach Film Festival for He Was a Quiet Man.

He has collaborated with Seth Rogen on several films, including The Interview, Neighbors and Neighbors 2: Sorority Rising, The Night Before and This Is the End. Additional credits include The Diary of a Teenage Girl, The Disaster Artist and Can You Ever Forgive Me? His most recent project — now streaming on Netflix — Extremely Wicked, Shockingly Evil and Vile, the story of serial killer Ted Bundy (Zac Efron) but this time told from his girlfriend’s perspective.

We reached out to Trost to find out about his process and his work on Extremely Wicked.

You’ve worked on a range of interesting projects from different genres. What attracts you to a story?
A movie can be told 100 different ways, so I ask myself where a movie can go — what’s the potential for doing something different? Especially if it is a genre I haven’t done. I really love jumping around.

And, of course, it all starts with the script and who the filmmakers are on a project — and synergy among us all during the interview process.

Tell us about Extremely Wicked, Shockingly Evil and Vile. How would you describe the general look of the film?
It’s a period movie first and foremost, but we wanted to elevate the production value as much as possible – on a tight budget. The director, Joe Berlinger, is a prolific documentarian. He really wanted to preserve his documentary sensibilities but with a cinematic, nostalgic quality to our approach. A lot of the film is shot handheld because we wanted to create an intimate portrait of the scenario, as horrifying as it is!

How did you go about choosing the right camera and lenses to achieve the look?
I chose Alexa Mini because of its size — I knew I’d be operating a lot, and Joe wanted a lot handheld. I also wanted to be able to make decisions on the fly and follow the actors as they tell this story. We had two cameras and mounted them with Panavision C Series anamorphics. I love these lenses. Each one has a specific characteristic. Plus, they are the same lenses of the era (made in 1968 and upgraded for today’s cameras), which matches the 1970s period we are depicting on screen.

Is there a challenging scene that you are particularly proud of how it turned out?
There is an extensive sequence covering the Miami trial, which was the first one ever televised. It was a phenomenon back then, and we wanted to capture some of that energy. We were strapped for time and lighting was built into a courtroom set. We also used a courtroom location that was augmented to mimic set. We had so many pages to shoot, so I chose not to bring in any additional lights.

Plus, the execution was challenging. With so many long courtroom scenes back to back, we didn’t want it to feel monotonous. With the cameras and lighting set up, I could stand in the courtroom with the freedom to follow a character. I was like an invisible fly on the wall. That helped get us through all the material and infused some energy into the shots.

The sequence ends with Ted Bundy’s statement after firing all his lawyers and ultimately representing himself. We did that shot as a slow zoom, capturing this emotional, impactful speech — even though he’s lying! We zoomed all the way to just Zac’s eyes. His performance was so great, and the results are very satisfying, knowing we could have used twice as many days to shoot these scenes.

I’m glad I had the freedom to make bold choices, and that closing zoom is the only time we broke from shooting handheld. It has a very ‘70s, voyeuristic feel.

How did you become interested in cinematography?
As a kid, I always thought I’d do effects like my dad, but he saw my creative side and encouraged me to explore it. When I went to film school, I learned I had a knack for cinematography. I loved movies, and coming from a family who has worked in all sectors of the industry for four generations, I grew up with film.
Finding a frame feels innate to me, but it’s taken a lot of practice to get to where I am now.

What inspires you artistically?
I love the challenge of finding the right image to tell the story and using the right light to achieve that image. As a crew, we all have a different job, but we are all building the same house. We all bring a piece of ourselves to what we do, and it becomes like solving a puzzle to tell the director’s story and create it collaboratively with everyone. Imagery can be so powerful; you can use it to push a scene and evoke a feeling, whether it’s loneliness, strength, optimism or sadness. Camera and lens choices, movement, lighting… it all feeds into completing the puzzle.

I also find cinematography to be very instinctive. If I design a rulebook with the director early on a film, I know it’s just the foundation, something to build from. I like to be reactive – and lean into what feels right in the moment.

How do you stay on top of advancing tools that serve your vision?
I read industry mags, but also through the DITs on set, or the camera houses. I get shown new things and how they work. Or I’ll ask if they have heard about something. This builds my awareness for understanding fundamentals of the tool in case I want to use it.

What are some of your best practices or rules you try to follow on each job?
I’m a big lens guy. For me, the lenses make the movie, and I’m loving using vintage glass. Cameras are being designed with more and more resolution, and I’m always trying to add an analog softness. With every advancement in sharpness and noise reduction, I’m usually trying to take the electric edge off. I rely on lenses to help do that — or I’ll “stress” the camera at a higher ISO or do something in post with texture and grain. I’m usually trying to tear the image apart a little bit.

Panavision has even taken old lenses and customized them optically for me to create a more “shattered” look when it was right for the story.

And everything could go out the window if it serves the purpose of the story. It’s important as a DP to leave your artistic baggage behind if the story guides you to do something different. The story dictates how I work, and as a DP. I have to be flexible in my approaches. That’s what makes this work fun!

Has any recent or new technology changed the way you work?
The tool I use the most is my iPhone. I’ve got the Artemis app with the Director’s Viewfinder and the Cinescope app for adjusting aspect ratios, etc. I haven’t held a light meter in years.


Randi Altman is the founder and editor-in-chief of postPerspective. She has been covering production and post production for more than 20 years. 

VFX house a52 launches a52 Color

Santa Monica-based visual effects studio a52 has launched a new custom-built space called a52 Color. It focuses on color grading and finishing. a52 Color is now home to a52 colorist Paul Yacono and new hire Daniel de Vue, who joins from London where he was head of color at Glassworks. a52 Color is able to offer clients access to combined or end-to-end services from its network of affiliated companies, which include Rock Paper Scissors, a52 VFX and Elastic.

“Color has been an offering within a52 with Paul Yacono for over half a decade, so it’s already an established part of the culture here,” explains executive producer Thatcher Peterson, who now runs with a52 after coming over from a four-year stint as EP at The Mill. “And with Daniel joining us from London, the distinction of a52 Color to become a separate entity thrusts our services and talent into its own spotlight.”

Yacono’s first major color project of out a52, was the Netflix series House of Cards, which proved that this boutique facility had the bandwidth to service high-volume 4K projects. Since that time, Yacono has established a body of work that ranges from ads for Target, Nike and BMW to the iconic title sequence for Game of Thrones. Yacono’s latest work includes the feature documentaries Struggle: The Life and Art of Szukalski, 13th, Amanda Knox, the TV miniseries Five Came Back and spots for Toyota, Prada, Samsung and Lexus.

Danish colorist de Vue has worked for directors such as Martin Werner, Martin de Thurah, Andreas Nilsson and Wally Pfister, and crafted the mood for brands such as Nike, Principal Financial, Vans, Mercedes, Toyota, Adidas, H&M and Xbox. Recently he graded an Elliot Rausch-directed TUMI spot featuring Lenny Kravitz and Zoë Kravitz on a journey to their family’s Bahamian roots.

Equipped for theatrical and broadcast color grading, the studio boasts two suites outfitted with FilmLight Baselight grading systems and is equipped for HDR with Dolby Vision certification. Additionally, remote grading services are also available throughout the US and internationally.

EP Peterson was at Company 3 for over 15 years, where he helped grow their core business from commercials to features and television.

As company founder Angus Wall, also an Oscar-winning editor for The Girl With the Dragon Tattoo, explains, “In adding high-end color and DI to our suite of companies, a52 Color completes our offerings for end-to-end, best of breed creative services.”

Hobo Films’ Howard Bowler on new series The System

By Randi Altman

Howard Bowler, the founder of New York City-based audio post house Hobo
Audio, has launched Hobo Films, a long-form original content development company.

Howard Bowler’s many faces

Bowler is also the founder and president of Green Point Creative, a marijuana-advocacy branding agency focused on the war on drugs and changing drug laws. And it is this topic that inspired Hobo Films’ first project, a dramatic series called The System. It features actress Lolita Foster from Netflix’s Orange Is The New Black.

Bowler has his hand in many things these days, and with those paths colliding, what better time to reach out to find out more?

After years working in audio post, what led you to want to start an original long-form production arm?
I’ve always wanted to do original scripted content and have been collecting story ideas for years. As our audio post business has grown, it’s provided us a platform to develop this related, exciting and creative business.

You are president/founder of Green Point Creative. Can you tell us more about that initiative?
Green Point Creative is an advocacy platform that was born out of personal experience. After an arrest followed by release (not me), I researched the history of marijuana prohibition. What I found was shocking. Hobo VP Chris Stangroom and I started to produce PSAs through Green Point to share what we had learned. We brought in Jon Mackey to aid in this mission, and he’s since moved up the ranks of Hobo into production management. The deeper we explored this topic, the more we realized there was a much larger story to tell and one that couldn’t be told through PSAs alone.

You wrote the script for the show The System? Can you tell our readers what the show is about?
The show’s storyline plots the experiences of a white father raising his bi-racial son, set against the backdrop of the war on drugs. The tone of the series is a cross between Marvel Comics and Schindler’s List. What happens to these kids in the face of a nefarious system that has them in its grips, how they get out, fight back, etc.

What about the shoot? How involved were you on set? What cameras were used? Who was your DP?
I was very involved the whole time working with the director Michael Cruz. We had to change lines of the script on set if we felt they weren’t working, so everyone had to be flexible. Our DP was David Brick, an incredible talent, driven and dedicated. He shot on the Red camera and the footage is stunning.

Can you talk about working with the director?
I met Michael Cruz when we worked together at Grey, a global advertising agency headquartered in NYC. I told him back then that he was born to direct original content. At the time he didn’t believe me, but he does now.

L-R: DP David Brick and director Mike Cruz on set

Mike’s directing style is subtle but powerful; he knows how to frame a shot and get the performance. He also knows how to build a formidable crew. You’ve got to have a dedicated team in place to pull these things off.

What about the edit and the post? Where was that done? What gear was used?
Hobo is a natural fit for this type of creative project and is handling all the audio post as well as the music score that is being composed by Hobo staffer and musician Oscar Convers.

Mike Cruz tapped the resources of his company, Drum Agency to handle the first phase of editing and they pulled together the rough cuts. For final edit, we connected with Oliver Parker. Ollie was just coming off two seasons of London Kills, a police thriller that’s been released to great reviews. Oliver’s extraordinary editing elevated the story in ways I hadn’t predicted. All editing was done on an Avid Media Composer. Music was composed by Hobo staffer Oscar Convers.

The color grade via Juan Salvo at TheColourSpace using Blackmagic Resolve. [Editor’s Note: We reached out to Salvo to find out more. “We got the original 8K Red files from editorial and conformed that on our end. The look was really all about realism. There’s a little bit of stylized lighting in some scenes, and some mixed-temperature lights as well. Mostly, the look was about finding a balance between some of the more stylistic elements and the very naturalist, almost cinéma vérité tone of the series.

“I think ultimately we tried to make it true-to-life with a little bit of oomph. A lot of it was about respecting and leaning into the lighting that DP Dave Brick developed on the shoot. So during the dialogue scenes, we tend to have more diffuse light that feels really naturalist and just lets the performances take center stage, and in some of the more visual scenes we have some great set piece lighting — police lights and flashlights — that really drive the style of those shots.”]

Where can people see The System?
Click here view the first five minutes of the pilot and learn more about the series.

Any other shows in the works?
Yes, we have several properties in development and to help move these projects forward, we’ve brought on Tiffany Jackman to lead these efforts. She’s a gifted producer who spent 10 years honing her craft at various agencies, as well as working on various films. With her aboard, we can now create an ecosystem that connects all the stories.

All Is True director Kenneth Branagh

By Iain Blair

Five-time Oscar-nominee Ken Branagh might be the biggest Shakespeare fan in the business. In fact, it’s probably fair to say that the actor/director/producer/screenwriter largely owes his fame and fortune to the Bard. For the past 30 years he’s directed (and often starred in) dozens of theatrical productions, as well as feature film adaptations of Shakespeare’s works, starting with 1989’s Henry V. That film won him two Oscar nominations: Best Actor and Best Director. He followed that with Much Ado About Nothing, Othello, Hamlet (which won him a Best Adapted Screenplay Oscar nod), Love’s Labour’s Lost and As You Like It.

Ken Branagh and Iain Blair

So it was probably only a matter of time before the Irish star jumped at the chance to play Shakespeare himself in the new film All Is True, a fictionalized look at the final years of the playwright. Set in 1613, Shakespeare is acknowledged as the greatest writer of the age, but disaster strikes when his renowned Globe Theatre burns to the ground. Devastated, Shakespeare returns to Stratford, where he must face a troubled past and a neglected family — wife Anne (Judi Dench) and two daughters, Susanna (Lydia Wilson) and Judith (Kathryn Wilder). The large ensemble cast also includes Ian McKellen as the Earl of Southampton.

I sat down with Branagh — whose credits include directing such non-Shakespeare movies as Thor, Cinderella and Murder on the Orient Express and acting in Dunkirk and Harry Potter and the Chamber of Secrets — to talk about about making the film and his workflow.

You’ve played many of Shakespeare’s characters in film or on stage. Was it a dream come true to finally play the man himself, or was it intimidating?
It was a dream come true, as I feel like he’s been a guide and mentor since I discovered him at school. And, rather like a dog, he’s given me unconditional love ever since. So I was happy to return some. It’s easy to forget that he was just a guy. He was amazing and a genius, but first and foremost he was a human being.

What kind of film did you hope to make?
A chamber piece, a character piece that took him out of his normal environment. I didn’t want it to be the predictable romp inside a theater, full of backstage bitching and all that sort of theatricality. I wanted to take him away from that and put him back in the place he was from, and I also wanted to load the front part of the movie with silence instead of tons of dialogue.

How close do you feel it gets to the reality of his final years?
I think it’s very truthful about Stratford. It was a very litigious society, and some of the scenes — like the one where John Lane stands up in church and makes very public accusations — all happened. His son Hamnet’s death was unexplained, and Shakespeare did seem to be very insecure in some areas. He wanted money and success and he lived in a very volatile world. If he was supposed to be this returning hero coming back to the big house and a warm welcome from his family, whom he hadn’t seen much of the past two decades, it didn’t quite happen that way. No, he was this absentee dad and husband, and the town had an ambivalent relationship with him; it wasn’t a peaceful retirement at all.

The film is visually gorgeous, and all the candlelit scenes reminded me of Barry Lyndon.
I’m so glad you said that as DP Zac Nicholson and I were partly inspired by that film and that look, and we used only candlelight and no additional lights for those scenes. Painters, like Vermeer and Rembrandt, were our inspiration for all the day and night scenes, respectively.

Clint Eastwood told me, “Don’t ever direct and star in a movie unless you’re a sucker for punishment — it’s just too hard.” So how hard was it?
(Laughs) He’s right. It is very hard, and a lot of work, but it’s also a big privilege. But I had a lot of great help — the crew and people like Judi and Ian. They had great suggestions and you listen to every tidbit they have to offer. I don’t know how Clint does it, but I do a lot of listening and stealing. The directing and acting are so interlinked to me, and I love directing as I get to watch Ian and Judi work, and they’re such hard workers. Judi literally gets to the set before anyone else, and she’s pacing up and down and getting ready to defend Anne Hathaway. She has this huge empathy for her characters which you feel so much, and here she was giving voice to a woman who could not read or write.

Where did you post?
We were based at Longcross Studios, where we did Murder on the Orient Express and the upcoming Artemis Fowl. We did most of it there, and then we ended up at The Post Republic, which has places in London and Berlin, to do the final finishing. Then we did all the final mixing at Twickenham with the great re-recording mixer Andy Nelson and his team. It was my second picture with Andy Nelson as the rerecording mixer. I am completely present throughout and I am completely involved in the final mix.

Do you like the post process?
I love it. It’s the place where I understood, right from my first film, that it could make — in terms of performance — a good one bad, a good one great, a bad one much better. The power of change in post is just amazing to me, and realizing that anything is possible if you have the imagination. So the way you juxtapose the images you’ve collected — and the way a scene from the third act might actually work better in the first act — is so huge in post. That fluidity was a revelation to me, and you can have these tremendous eureka moments in post that can be beautiful and so inspiring.

Can you talk about working with editor Una Ni Dhongaile, who cut The Crown and won a BAFTA for Three Girls?
She’s terrific. She wasn’t on the set but we talked a lot during the shoot. I like her because she really has an opinion. She’s definitely not a “yes” person, but she’s also very sensitive. She also gets very involved with the characters and protects you as a director. She won’t let you cut too soon or too deep, and she encourages you to take a moment to think about stuff. She’s one of those editors who has this special kind of intuition about what the film needs, in addition to all her technical skills and intellectual understanding of what’s going on.

What were the big editing challenges?
After doing a lot of very long takes we used the very best, and despite using a very painterly style we didn’t make the film feel too static. We didn’t want to falsely or artificially cut to just affect the pace, but allow it to flow naturally so every minute was earned. We also didn’t want to feel afraid of holding a particular shot for a long time. We definitely needed pauses and rests, and Shakespeare is musical in his poetry and the way he juxtaposes fast and slow moments. So all those decisions were critical and needed mulling as well as executing.

Talk about the importance of sound and music, as it’s a very quiet film.
It’s absolutely critical in a world like this where light and sound play huge roles and are so utterly different to our own modern understanding of it. The aural and audio space you can offer an audience for this was a big chance to adventure back in time, when the world was far more sparsely populated. Especially in a little place like Stratford; silence played a big role as well. You’re offering a hint of the outside world and the aural landscape is really the bedrock for all the introspection and thoughtfulness this movie deals with.

Patrick Doyle’s music has this gossamer approach — that was the word we used. It was like a breath, so that the whole sound experience invited the audience into the meditative world of Shakespeare. We wanted them to feel the seasons pass, the wind in the trees, and how much more was going on than just the man thinking about his past. It was the experience of returning home and being with this family again, so you’d hear a creak of a chair and it would interrupt his thoughts. So we worked hard on every little detail like that.

Where did you do the grading and coloring?
Post Republic in their North London facility, and again, I’m involved every step of the way.

Did making this film change your views about Shakespeare the man?
Yes, and it was an evolving thing. I’ve always been drawn to his flawed humanity, so it seemed real to be placing this man in normal situations and have him be right out of his comfort zone at the start of the film. So you have this acclaimed, feted and busy playwright, actor, producer and stage manager suddenly back on the dark side of the moon, which Stratford was back then. It was a small town, a three-day trip from London, and it must have been a shock. It was candlelight and recrimination. But I think he was a man without pomp. His colleagues most often described him as modest and gentle, so I felt a vulnerability that surprised me. I think that’s authentic to the man.

What’s next for you?
Disney’s Artemis Fowl, the fantasy-adventure based on the books, which will be released on May 29, and then I start directing Death on the Nile for Fox, which starts shooting late summer.


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.

Tony Dustin joins Efilm as senior colorist

Tony Dustin has joined the Deluxe Creative Services team as senior colorist at Hollywood’s  Efilm. He will also be doing some work for sister company Encore. With more than 20 years of experience in color grading, Dustin’s work spans styles and genres, with a talent for revealing details in the darker palettes of many of his projects. He will be using Blackmagic DaVinci Resolve.

Dustin’s credits include the Netflix dramatic series Sense8, for which he was nominated for an HPA Award; Hulu horror series Castle Rock; Best Picture Academy Award-nominee Silver Linings Playbook, directed by David O. Russell; and Gran Torino, directed by Clint Eastwood.

Dustin’s first project for Efilm is the biographical drama Harriet, working with Oscar-winning cinematographer John Toll, with whom Dustin previously collaborated with on Sense8.

He comes to Efilm from Technicolor, where he spent nearly 17 years. He’s also held various color-centric roles at Westwind Media and Efilm sister company Encore. Dustin got his start in post by discovering the color grading process through his work in the vault at Editel while attending college. Having spent many hours developing negatives in a photo lab as a youth, Dustin has a well-honed eye and deep appreciation for cinematic visuals.

DP Chat: The Man in the High Castle’s Gonzalo Amat

By Randi Altman

Amazon’s The Man in the High Castle is based on the 1962 Phillip K. Dick novel, which asks the question: “What would it look like if the Germans and Japanese won World War II?” It takes a look at the Nazi and Japanese occupation of portions of the United States and the world. But it’s a Philip K. Dick story, so you know there is more to it than that… like an alternate reality.

The series will premiere its fourth and final season this fall on the streaming service. We recently reached out to cinematographer Gonzalo Amat, who was kind enough to talk to us about workflow and more.

How did you become interested in cinematography?
Since I was very young, I had a strong interest in photography and was shooting stills as long as I can remember. Then, when I was maybe 10 or 12 years old, I discovered that movies also had a photographic aspect. I didn’t think about doing it until I was already in college studying communications, and that is when I decided to make it my career.

What inspires you artistically? And how do you simultaneously stay on top of advancing technology?
Artistically, I get inspiration from a lot of sources, such as photography, film, literature, painting or any visual medium. I try to curate what I consume, though. I believe that everything we feed our brain somehow shows up in the work we do, so I am very careful about consuming films, books and photography that feed the story that I will be working on. I think any creation is inspiration. It can be all the way from a film masterpiece to a picture drawn by a kid, music, performance art, historical photographs or testimonies, too.

About staying on top: I read trade magazines and stay educated through seminars and courses, but at some point, it’s also about using those tools. So I try to test the tools instead of reading about them. Almost any rental place or equipment company will let you try newer tools. If I’m shooting, we try to schedule a test for a particular piece of equipment we want to use, during a light day.

What new technology has changed the way you work?
The main new technology would be the migration of most projects to digital. That has changed the way we work on set and collaborate with the directors, since everyone can now see, on monitors, something closely resembling the final look of the project.

A lot of people think this is a bad thing that has happened, but for me, it actually allows more clear communication about the concrete aspects of a sometimes very personal vision. Terms like dark, bright, or colorful are very subjective, so having a reference is a good point to continue the conversation.

Also, digital technology has helped use more available light on interiors and use less light on exterior nights. Still, it hasn’t reached the latitude of film, where you could just let the windows burn. It’s trickier for exterior day shots, where I think you end up needing more control. I would also say that the evolution of visual effects as a more invisible tool has helped us achieve a lot more from a storytelling perspective and has affected the way we shoot scenes in general.

What are some of your best practices, or rules you try to follow on each job?
Each project is different, so I try to learn how that particular project will be. But there are some time-tested rules that I try to implement. The main line is to always go for the story; every answer is always in the script. Another main rule is communication. So being open about questions, even if they seem silly. It’s always good to ask.

Another rule is listening to ideas. People that end up being part of my team are very experienced and sometimes have solutions to problems that come up. If you are open to ideas, more ideas will come, and people will do their jobs with more intention and commitment. Gratitude, respect, collaboration, communication and being conscious about safety is important and part of my process.

Gonzalo Amat on set

Explain your ideal collaboration with the director when setting the look of a project.
Every director is different, so I look at each new project as an opportunity to learn. As a DP, you have to learn and adapt, since through your career you will be asked for different levels of involvement. Because of my interest in storytelling, I personally prefer a bit more of a hands-off approach from directors; talking more about story and concepts, where we collaborate setting up the shoots for covering a scene, and same with lighting: talking moods and concepts that get polished as we are on set. Some directors will be very specific, and that is a challenge because you have to deliver what is inside their heads and hopefully make it better. I still enjoy this challenge, because it also makes you work for someone’s vision.

Ideally, developing the look of a project comes from reading the script together and watching movies and references together. This is when you can say “dark like this” or “moody like this” because visual concepts are very subjective, and so is color. From then on, it’s all about breaking up the script and the visual tone and arc of the story, and subsequently all the equipment and tools for executing the ideas. Lots of meetings as well as walking the locations with just the director and DP are very useful.

How would you describe the overarching look of the show?
Basically, the main visual concept of this project is based in film noir, and our main references were The Conformist and Blade Runner. As we went along, we added some more character-based visual ideas inspired by projects like In the Mood for Love and The Insider for framing.

The main idea is to visually portray the worlds of the characters through framing and lighting. Sometimes, we play it the way the script tells us; sometimes we counterpoint visually what it says, so we can make the audience respond in an emotional way. I see cinematography as the visual music that makes people respond emotionally to different moods. Sometimes it’s more subtle and sometimes more obvious. We prefer to not be very intrusive, even though it’s not a “realist” project.

How early did you get involved in the production?
I start four or five weeks before the season. Even if I’m not doing the first episode, I will still be there to prepare new sets and do some tests for new equipment or characters. Preparation is key in a project like this, because once we start with the production the time is very limited.

Did you start out on the pilot? Did the look change from season to season at all?
James Hawkinson did the pilot, and I came in when the series got picked up. He set up the main visual concepts, and when it came to series I adapted some of the requirements from the studio and the notes from Ridley Scott into the style we see now.

The look has been evolving from season to season, as we feel we can be bolder with the visual language of the show. If you look at the pilot all the way to the end of Season 3, or Season 4, which is filming, you can definitely see a change, even though it still feels like the same project — the language has been polished and distilled. I think we have reached the sweet spot.

Does the look change at all when the timelines shift?
Yes, all of the timelines require a different look and approach with lighting and camera use. Also, the art design and wardrobe changes, so we combine all those subtle changes to give each world, place and timeline a different feel. We have lots of conceptual meetings, and we develop the look and feel of each timeline and place. Once these concepts are established, the team gets to work constructing the sets and needed visual elements, and then we go from there.

This is a period piece. How did that affect the look, if at all?
We have tried to give it a specific and unique look that still feels tied to the time period so, yes, the fact that this happens in our own version of the ‘60s has determined the look, feeling and language of the series. We base our aesthetics in what the real world was in 1945, which our story diverges from to form this alternate world.

The 1960s of the story are not the real 1960s because there is no USA and no free Europe, so that means most of the music and wardrobe doesn’t look like the 1960s we know. There are many Nazi and Japanese visual elements on the visuals that distinguish us from a regular 1960s look, but it still feels period.

How did you go about choosing the right camera and lenses for this project?
Because we had a studio mandate to finish in 4K, the Red One with Zeiss Master Prime lenses was chosen in the pilot, so when I came on we inherited that tech. We stuck with all this for the first season, but after a few months of shooting we adapted the list and filters and lighting. On Season 2, we pushed to change to an ARRI Alexa camera, so we ended up adjusting all the equipment around this new camera and it’s characteristics — such as needing less light, so we ended up with less lighting equipment.

We also added classic Mitchell Diffusion Filters and some zooms. Lighting and grip equipment have been evolving toward less and less equipment since we light less and less. It’s a constant evolution. We also looked at some different lens options in the season breaks, but we haven’t added them because we don’t want to change our budget too much from season to season, and we use them as required.

Any challenging scenes that you are particularly proud of in Season 3?
I think the most challenging scene was the one in the Nebenwelt tunnel set. We had to have numerous meetings about what this tunnel was as a concept and then, based on the concept, find a way to execute it in a visual way. We wanted to make sure that the look of the scene matched the concepts of quantum physics within the story.

I wanted to achieve lighting that felt almost like plasma. We decided to put a mirror at the end of the tunnel with circle lighting right above it. We then created the effect of the space travel by using a blast of light — using lighting strikes with an elaborate setup that collectively used more than a million watts. It was a complex setup, but fortunately we had a lot of very talented people come together to execute it.

What’s your go-to gear (camera, lens, mount/accessories) — things you can’t live without?
On this project, I’d say it’s the 40mm lens. I don’t think this project would have the same vibe without this lens. Then, of course, I love the Technocrane, but we don’t use it every day, for budgetary and logistical reasons.

For other projects, I would say the ARRI Alexa camera and the 40mm and handheld accessories. You can do a whole movie with just those two; I have done it, and it’s liberating. But if I had an unlimited budget, I would love to use a Technocrane every day with a stabilized remote head.


Randi Altman is the founder and editor-in-chief of postPerspective. She has been covering production and post production for more than 20 years. 

Little’s dailies-to-ACES finishing workflow via FotoKem

FotoKem’s Atlanta and Burbank facilities both worked on the post production — from digital dailies through finishing with a full ACES finish — for Universal Pictures’ and Legendary Entertainment’s film, Little.

From producer Will Packer (Girls Trip, Night School, the Ride Along franchise) and director/co-writer Tina Gordon (Peeples, Drumline), Little tells the story of a tech mogul (Girls Trip’s Regina Hall) who is transformed into a 13-year-old version of herself (Marsai Martin) and must rely on her long-suffering assistant (Insecure’s Issa Rae) just as the future of her company is on the line.

Martin, who stars in the TV series Black-ish, had the idea for the film when she was 10 and acts as an executive producer on the film.

Principal photography for Little took place last summer in the Atlanta area. FotoKem’s Atlanta location provided digital dailies, with looks developed by FotoKem colorist Alastor Arnold alongside cinematographer Greg Gardiner (Girls Trip, Night School), who shot with Sony F55 cameras.

Cinematographer Greg Gardiner on set.

“Greg likes a super-clean look, which we based on Sony color science with a warm and cool variant and a standard hero LUT,” says Arnold. “He creates the style of every scene with his lighting and photography. We wanted to maximize his out-of-the-camera look and pass it through to the grading process.”

Responding to the sharp growth of production in Georgia, FotoKem entered the Atlanta market five years ago to offer on-the-ground support for creatives. “FotoKem Atlanta is an extension of our Burbank team with colorists and operations staff to provide the upfront workflow required for file-based dailies,” says senior VP Tom Vice of FotoKem’s creative services division.

When editor David Moritz and the editorial team moved to Los Angeles, FotoKem sent EDLs to its nextLAB dailies platform, the facility’s proprietary digital file management system, where shots for VFX vendors were transcoded as ACES EXR files with full color metadata. Non-VFX shots were also automatically pulled from nextLAB for conform. The online was completed in Blackmagic Resolve.

The DI and the film conform happened concurrently, with Arnold and Gardiner working together daily. “We had a full ACES pipeline, with high dynamic range and high bit rate, which both Greg and I liked,” Arnold says. “The film has a punchy, crisp chromatic look, but it’s not too contemporary in style or hyper-pushed. It’s clean and naturalistic with an extra chroma punch.”

Gordon was also a key part of the collaboration, playing an active role in the DI, working closely with Gardiner to craft the images. “She really got into the color aspect of the workflow,” notes Arnold. “Of course, she had a vision for the movie and fully embraced the way that color impacts the story during the DI process.”

Arnold’s first pass was for the theatrical grade and the second for the HDR10 grade. “What I like about ACES is the simplicity of transforming to different color spaces and working environments. And the HDR grade was a quicker process,” he says. “HDR is increasingly part of our deliverables, and we’re seeing a lot more ACES workflows lately, including work on trailers.”

FotoKem’s deliverables included a DCP, DCDM and DSM for the theatrical release; separations and .j2k files for HDR10 archiving; and ProRes QuickTime files for QC.

Star Wars: Ep. VII DP Dan Mindel: Cinematographer-in-Residence at UCLA TFT

Director of photography Dan Mindel, ASC, BSC, SASC, has been named the 2019 Kodak Cinematographer-in-Residence at the UCLA School of Theater, Film and Television (UCLA TFT). In a career spanning more than 25 years, Mindel has worked with many high-level directors, including Ridley Scott, Tony Scott and J.J. Abrams. He is best known for his work on such blockbuster action films as Enemy of the State, Mission: Impossible III, Star Trek (2009) and Star Wars: Episode VII — The Force Awakens. Mindel’s unique artistic approach to his cinematography, as well as his use of real film, are responsible for the signature look of the films to which he lends his talents.

The residency began Monday, April 29, 2019 with hands-on student workshops and a special screening of Star Wars: Episode VII — The Force Awakens (2015), followed by a Q&A with Mindel, at the James Bridges Theater on the UCLA campus. The residency will continue for the remainder of the 2019 academic year.

This is the 19th year of the residency program at UCLA TFT, which is sponsored by the Eastman Kodak Company. Mindel joins a distinguished group of cinematographers who have received this honor, including Michael Goi, ASC, (American Horror Story), John Bailey, ASC, (American Gigolo, In the Line of Fire); Rodrigo Prieto, ASC, (Brokeback Mountain, Argo, Silence); Dean Cundey, ASC, (Back to the Future, Jurassic Park); Roger Deakins, BSC, ASC, (No Country for Old Men, Skyfall); Guillermo Navarro ASC, AMC, (From Dusk Till Dawn, Pan’s Labyrinth) and Dante Spinotti, ASC, AIC, (Hercules, Tower Heist, Public Enemies), among many others.

The Kodak Cinematographer-in-Residence Program was established in 2000 by UCLA TFT professor William McDonald to bring together the worlds of professional and academic cinematography, exposing theater, film and television students to critically acclaimed industry veterans who have attained the highest levels of achievement within the filmmaking industry. Students study with these experts for an entire academic year through a series of workshops and screenings.

“Dan Mindel’s body of work as a cinematographer is an impressive representation of his technical skill and artistic talent,” McDonald says. “He is a supreme visual storyteller, and our students will learn so much from his extensive experience as a premier director of photography. He has a generous spirit, and we are grateful for his enthusiastic willingness to share his knowledge with this generation of young filmmakers and those still to come.”

 

NAB 2019: A cinematographer’s perspective

By Barbie Leung

As an emerging cinematographer, I always wanted to attend an NAB show, and this year I had my chance. I found that no amount of research can prepare you for the sheer size of the show floor, not to mention the backrooms, panels and after-hours parties. As a camera operator as well as a cinematographer who is invested in the post production and exhibition end of the spectrum, I found it absolutely impossible to see everything I wanted to or catch up with all the colleagues and vendors I wanted to. This show is a massive and draining ride.

Panasonic EV1

There was a lot of buzz in the ether about 5G technology. Fast and accurate, the consensus seems to be that 5G will be the tipping point in implementing a lot of the tech that’s been talked about for years but hasn’t quite taken off yet, including the feasibility of autonomous vehicles and 8K streaming stateside.

It’s hard to deny the arrival of 8K technology while staring at the detail and textures on an 80-inch Sharp 8K professional display. Every roof tile, every wave in the ocean is rendered in rich, stunning detail.

In response to the resolution race, on the image capture end of things, Arri had already announced and started taking orders for the Alexa Mini LF — its long-awaited entry into the large format game — in the week before NAB.

Predictably, at NAB we saw many lens manufacturers highlighting full-frame coverage. Canon introduced its Sumire Prime lenses, while Fujinon announced the Premista 28-100mm T2.9 full-format zoom.

Sumire Prime lenses

Camera folks, including many ASC members, are embracing large format capture for sure, but some insist the appeal lies not so much in the increased resolution, but rather in the depth and overall image quality.

Meanwhile, back in 35mm sensor land, Panasonic continues its energetic push of the EVA1 camera. Aside from presentations at their booth emphasizing “cinematic” images from this compact 5.7K camera, they’ve done a subtle but not-to-subtle job of disseminating the EVA1 throughout the trade show floor. If you’re at the Atomos booth, you’ll find director/cinematographers like Elle Schneider presenting work shot with Atomos with the EVA1 balanced on a Ronin-S, and if you stop by Tiffen you’ll find an EVA1 being flown next to the Alexa Mini.

I found a ton of motion control at the show. From Shotover’s new compact B1 gyro stabilized camera system to the affable folks at Arizona-based Defy, who showed off their Dactylcam Pro, an addictively smooth-to-operate cable-suspension rig. The Bolt high-speed Cinebot had high-speed robotic arms complete with a spinning hologram.

Garret Brown at the Tiffen booth.

All this new gimbal technology is an ever-evolving game changer. Steadicam inventor Garrett Brown was on hand at the Tiffen booth to show the new M2 sled, which has motors elegantly built into the base. He enthusiastically heralded that camera operators can go faster and more “dangerously” than ever. There was so much motion control that it vied for attention alongside all the talk of 5G, 8K and LED lighting.

Some veterans of the show have expressed that this year’s show felt “less exciting” than shows of the past eight to 10 years. There were fewer big product launch announcements, perhaps due to past years where companies have been unable to fulfill the rush of post-NAB orders for new products for 12 or even 18 months. Vendors have been more conservative with what to hype, more careful with what to promise.

For a new attendee like me, there was more than enough new tech to explore. Above all else, NAB is really about the people you meet. The tech will be new next year, but the relationships you start and build at NAB are meant to last a career.

Main Image: ARRI’s Alexa Mini LF.


Barbie Leung is a New York-based cinematographer and camera operator working in independent film and branded content. Her work has played Sundance, the Tribeca Film Festival and Outfest. You can follow her on Instagram at @barbieleungdp.

Colorfront at NAB with 8K HDR, product updates

Colorfront, which makes on-set dailies and transcoding systems, has rolled out new 8K HDR capabilities and updates across its product lines. The company has also deepened its technology partnership with AJA and entered into a new collaboration with Pomfort to bring more efficient color and HDR management on-set.

Colorfront Transkoder is a post workflow tool for handling UHD, HDR camera, color and editorial/deliverables formats, with recent customers such as Sky, Pixelogic, The Picture Shop and Hulu. With a new HDR GUI, Colorfront’s Transkoder 2019 performs the realtime decompression/de-Bayer/playback of Red and Panavision DXL2 8K R3D material displayed on a Samsung 82-inch Q900R QLED 8K Smart TV in HDR and in full 8K resolution (7680 X 4320). The de-Bayering process is optimized through Nvidia GeForce RTX graphics cards with Turing GPU architecture (also available on Colorfront On-Set Dailies 2019), with 8K video output (up to 60p) using AJA Kona 5 video cards.

“8K TV sets are becoming bigger, as well as more affordable, and people are genuinely awestruck when they see 8K camera footage presented on an 8K HDR display,” said Aron Jaszberenyi, managing director, Colorfront. “We are actively working with several companies around the world originating 8K HDR content. Transkoder’s new 8K capabilities — across on-set, post and mastering — demonstrate that 8K HDR is perfectly accessible to an even wider range of content creators.”

Powered by a re-engineered version of Colorfront Engine and featuring the HDR GUI and 8K HDR workflow, Transkoder 2019 supports camera/editorial formats including Apple ProRes RAW, Blackmagic RAW, ARRI Alexa LF/Alexa Mini LF and Codex HDE (High Density Encoding).

Transkoder 2019’s mastering toolset has been further expanded to support Dolby Vision 4.0 as well as Dolby Atmos for the home with IMF and Immersive Audio Bitstream capabilities. The new Subtitle Engine 2.0 supports CineCanvas and IMSC 1.1 rendering for preservation of content, timing, layout and styling. Transkoder can now also package multiple subtitle language tracks into the timeline of an IMP. Further features support fast and efficient audio QC, including solo/mute of individual tracks on the timeline, and a new render strategy for IMF packages enabling independent audio and video rendering.

Colorfront also showed the latest versions of its On-Set Dailies and Express Dailies products for motion pictures and episodic TV production. On-Set Dailies and Express Dailies both now support ProRes RAW, Blackmagic RAW, ARRI Alexa LF/Alexa Mini LF and Codex HDE. As with Transkoder 2019, the new version of On-Set Dailies supports real-time 8K HDR workflows to support a set-to-post pipeline from HDR playback through QC and rendering of HDR deliverables.

In addition, AJA Video Systems has released v3.0 firmware for its FS-HDR realtime HDR/WCG converter and frame synchronizer. The update introduces enhanced coloring tools together with several other improvements for broadcast, on-set, post and pro AV HDR production developed by Colorfront.

A new, integrated Colorfront Engine Film Mode offers an ACES-based grading and look creation toolset with ASC Color Decision List (CDL) controls, built-in LOOK selection including film emulation looks, and variable Output Mastering Nit Levels for PQ, HLG Extended and P3 colorspace clamp.

Since launching in 2018, FS-HDR has been used on a wide range of TV and live outside broadcast productions, as well as motion pictures including Paramount Pictures’ Top Gun: Maverick, shot by Claudio Miranda, ASC.

Colorfront licensed its HDR Image Analyzer software to AJA for AJA’s HDR Image Analyzer in 2018. A new version of AJA HDR Image Analyzer is set for release during Q3 2019.

Finally, Colorfront and Pomfort have teamed up to integrate their respective HDR-capable on-set systems. This collaboration, harnessing Colorfront Engine, will include live CDL reading in ACES pipelines between Colorfront On-Set/Express Dailies and Pomfort LiveGrade Pro, giving motion picture productions better control of HDR images while simplifying their on-set color workflows and dailies processes.

Color Chat: Light Iron’s Sean Dunckley

Sean Dunckley joined Light Iron New York’s studio in 2013, where he has worked on episodic television and features films. He finds inspiration in many places, but most recently in the photography of Stephen Shore and Greg Stimac. Let’s find out more…

NAME: Sean Dunckley

COMPANY: LA- and NYC-based Light Iron

CAN YOU DESCRIBE YOUR COMPANY?
Light Iron is a Panavision company that offers end-to-end creative and technical post solutions. I color things there.

AS A COLORIST, WHAT WOULD SURPRISE PEOPLE THE MOST ABOUT WHAT FALLS UNDER THAT TITLE?
I like to get involved early in the process. Some of the most rewarding projects are those where I get to work with the cinematographer from pre-production all the way through to the final DCP.

Ongoing advances in technology have really put the spotlight on the holistic workflow. As part of the Panavision ecosystem, we can offer solutions from start to finish, and that further strengthens the collaboration in the DI suite. We can help a production with camera and lens choices, oversee dailies and then bring all that knowledge into the final grade.

Recently, I had a client who was worried about the speed of his anamorphics at night. The cinematographer was much more comfortable shooting the faster spherical lenses, but the film and story called for the anamorphic look. In pre-production, I was able to show him how we can add some attributes of anamorphic lenses in post. That project ended up shooting a mix of anamorphic and spherical, delivering on both the practical and artistic needs.

Hulu’s Fyre Fraud doc.

WHAT SYSTEM DO YOU WORK ON?
Filmlight’s Baselight. Its color management tools offer with strong paint capabilities, and the Blackboard 2 panel is very user-friendly.

ARE YOU SOMETIMES ASKED TO DO MORE THAN JUST COLOR ON PROJECTS?
Now that DI systems have expanded their tools, I can integrate last-minute fixes during the DI sessions without having to stop and export a shot to another application. Baselight’s paint tools are very strong and have allowed me to easily solve many client issues in the room. Many times, this has saved valuable time against strict deadlines.

WHAT’S YOUR FAVORITE PART OF THE JOB?
That’s easy. It is the first day of a new project. It feels like an artistic release when I am working with filmmakers to create style frames. I like to begin the process by discussing the goals of color with the film’s creative team.

I try to get their take on how color can best serve the story. After we talk, we play for a little while. I demonstrate the looks that have been inspired by their words and then form a color palette for the project. During this time, it is just as important to learn what the client doesn’t like as much as what they do like.

WHAT’S YOUR LEAST FAVORITE?
I think the hours can be tough at times. The deadlines we face often battle with the perfectionist in me.

IF YOU DIDN’T HAVE THIS JOB, WHAT WOULD YOU BE DOING INSTEAD?
Architecture is a field I would have loved to explore. It’s very similar, as it is equal parts technical and creative.

WHY DID YOU CHOOSE THIS PROFESSION?
I had always been interested in post. I used to cut skateboard videos with friends in high school. In film school, I pursued more of an editing route. After graduation, I got a job at a post house and quickly realized I wanted to deviate and dive into color.

Late Night with Emma Thompson. Photo by Emily Aragones

CAN YOU NAME SOME RECENT PROJECTS YOU HAVE WORKED ON?
Recent film titles I worked on include Late Night and Brittany Runs a Marathon, both of which got picked up at Sundance by Amazon.

Other recent projects include Amazon Studio’s Life Itself, and the Fyre Fraud documentary on Hulu. Currently, I am working on multiple episodic series for different OTT studios.

The separation that used to exist between feature films, documentaries and episodics has diminished. Many of my clients are bouncing between all types of projects and aren’t contained to a single medium.

It’s a unique time to be able to color a variety of productions. Being innovative and flexible is the name of the game here at Light Iron, and we’ve always been encouraged to follow the client and not the format.

WHAT IS THE PROJECT THAT YOU ARE MOST PROUD OF?
It’s impossible to pick a single project. They are all my children!

WHERE DO YOU FIND INSPIRATION?
I go through phases but right now it’s mostly banal photography. Stephen Shore and Greg Stimac are two of my favorite artists. Finding beauty in the mundane has a lot to do with the shape of light, which is very inspiring to me as a colorist.

NAME THREE PIECES OF TECHNOLOGY YOU CAN’T LIVE WITHOUT.
I need my iPhone, Baselight and, of course, my golf course range finder.

WHAT SOCIAL MEDIA CHANNELS DO YOU FOLLOW?
I follow Instagram for visuals, and I keep up with Twitter for my sports news and scores.

WHAT DO YOU DO TO DE-STRESS FROM IT ALL?
I have young children, so they make sure I leave those stresses back at the office, or at least until they go to bed. I also try to sneak in some golf whenever I can.

Sony’s NAB updates — a cinematographer’s perspective

By Daniel Rodriguez

With its NAB offerings, Sony once again showed that they have a firm presence in nearly every stage of production, be it motion picture, broadcast media or short form. The company continues to keep up to date with the current demands while simultaneously preparing for the inevitable wave of change that seems to come faster and faster each year. While the introduction of new hardware was kept to a short list this year, many improvements to existing hardware and software were released to ensure Sony products — both new and existing — still have a firm presence in the future.

The ability to easily access, manipulate, share and stream media has always been a priority for Sony. This year at NAB, Sony continued to demonstrate its IP Live, SR Live, XDCAM Air and Media Backbone Hive platforms, which give users the opportunity to manage media all over the globe. IP Live allows users to access remote production, which contains core processing hardware while accessing it anywhere. This extends to 4K and HDR/SDR streaming as well, which is where SR Live comes into play. SR Live allows for a native 4K HDR signal to be processed into full HD and regular SDR signals, and a core improvement is the ability to adjust the curves during a live broadcast for any issues that may arise in converting HDR signals to SDR.

For other media, including XDCAM-based cameras, XDCAM Air allows for the wireless transfer and streaming of most media through QoS services, and turns almost any easily accessible camera with wireless capabilities into a streaming tool.

Media Backbone Hive allows users to access their media anywhere they want. Rather than just being an elaborate cloud service, Media Backbone Hive allows internal Adobe Cloud-based editing, accepts nearly every file type, allows a user to embed metadata and makes searching simple with keywords and phrases that are spoken in the media itself.

For the broadcast market, Sony introduced the Sony HDC-5500 4K HDR three-CMOS sensor camcorder which they are calling their “flagship” camera in this market. Offering 4K HDR and high frame rates, the camera also offers a global shutter — which is essential for dealing with strobing from lights — and can now capture fast action without the infamous rolling shutter blur. The camera allows for 4K output over 12G SDI, allowing for 4K monitoring and HDR, and as these outputs continue to be the norm, the introduction of the HDC-5500 will surely be a hit with users, especially with the addition of global shutter.

Sony is very much a company that likes to focus on the longevity of their previous releases… cameras especially. Sony’s FS7 is a camera that has excelled in its field since its introduction in 2014, and to this day is an extremely popular choice for short form, narrative and broadcast media. Like other Sony camera bodies, the FS7 allows for modular builds and add-ons, and this is where the new CBK-FS7BK ENG Build-Up Kit comes in. Sporting a shoulder mount and ENG viewfinder, the kit includes an extension in the back that allows for two wireless audio inputs, RAW output, streaming and file transfer via Wireless LAN or 4G/LTE connection, as well as QoS streaming (only through XDCAM Air) and timecode input. This CBK-FS7BK ENG Build-Up Kit turns the FS7 into an even more well-rounded workhorse.

The Sony Venice is Sony’s flagship Cinema camera, replacing the Sony F65, which is still brilliant and a popular camera. Having popped up as recently as last year’s Annihilation, the Venice takes a leap further in entering the full-frame, VistaVision market. Boasting top-of-the-line specs and a smaller, more modular build than the F65, the camera isn’t exactly a new release — it came out in November 2017 — but Sony has secured longevity in their flagship camera in a time when other camera manufacturers are just releasing their own VistaVision-sensored cameras and smaller alternatives.

Sony recently released a firmware update to the Venice that allows X-OCN XT — their highest form of compressed 16-bit RAW — two new imager modes, allowing the camera to sample 5.7K 16:9 in full frame and 6K 2.39:1 in full width, as well as 4K signal over 6G/12G SDI output and wireless remote control with the CBK-WA02. Since the Venice is smaller and able to be mounted on harder-to-reach mounts, wireless control is quickly becoming a feature that many camera assistants need. Newer anamorphic desqueeze modes for 1.25x, 1.3x, 1.5x and 1.8x have also been added, which is huge, since many older and newer lenses are constantly being created and revisited, such as the Technovision 1.5x — made famous by Vittorio Storaro on Apocalypse Now (1979) — and the Cooke Full Frame Anamorphics 1.8X. With VistaVision full frame now being an easily accessible way of filming, new forms of lensing are now becoming common, so systems like anamorphic are no longer limited to 1.3X and 2X. It’s reassuring to see Sony look out for storytellers who may want to employ less common anamorphic desqueeze sizes.

As larger resolutions and higher frame rates become the norm, Sony has introduced the new Sony SxS Pro X cards. A follow up to the hugely successful Sony SxS Pro+ cards, these new cards boost an incredible transfer speed of 10Gbps (1250Mbps) in 120GB and 240GB cards. This is a huge step up from the previous SxS Pro+ cards that offered a read speed of 3.5Gbps and a write speed of 2.8Gbps. Probably the most exciting part of these new cards being introduced is the corresponding SBAC-T40 card reader which guarantees a full 240GB card to be offloaded in 3.5 minutes.

Sony’s newest addition to the Venice camera is the Rialto extension system. Using the Venice’s modular build, the Rialto is a hardware extension that allows you to remove the main body’s sensor and install it into a smaller body unit which is then tethered either nine or 18 feet by cable back to the main body. Very reminiscent of the design of ARRI’s Alexa M unit, the Rialto goes further by being an extension of its main system rather than a singular system, which may bring its own issues. The Rialto allows users to reach spots where it may otherwise prove difficult using the actual Venice body. Its lightweight design allows users to mount it nearly anywhere. Where other camera bodies that are designed to be smaller end up heavy when outfitted with accessories such as batteries and wireless transmitters, the Rialto can easily be rigged to aerials, handhelds, and Steadicams. Though some may question why you wouldn’t just get a smaller body from another camera company, the big thing to consider is that the Rialto isn’t a solution to the size of the Venice body — which is already very small, especially compared to the previous F65 — but simply another tool to get the most out of the Venice system, especially considering you’re not sacrificing anything as far as features or frame rates. The Rialto is currently being used on James Cameron’s Avatar sequels, as its smaller body allows him to employ two simultaneously for true 3D recording whilst giving all the options of the Venice system.

With innovations in broadcast and motion picture production, there is a constant drive to push boundaries and make capture/distribution instant. Creating a huge network for distribution, streaming, capture, and storage has secured Sony not only as the powerhouse that it already is, but also ensures its presence in the ever-changing future.


Daniel Rodriguez is a New York based director and cinematographer. Having spent years working for such companies as Light Iron, Panavision and ARRI Rental, he currently works as a freelance cinematographer, filming narrative and commercial work throughout the five boroughs. 

 

Atomos’ new Shogun 7: HDR monitor, recorder, switcher

The new Atomos Shogun 7 is a seven-inch HDR monitor, recorder and switcher that offers an all-new 1500-nit, daylight-viewable, 1920×1200 panel with a 1,000,000:1 contrast ratio and 15+ stops of dynamic range displayed. It also offers ProRes RAW recording and realtime Dolby Vision output. Shogun 7 will be available in June 2019, priced at $1,499.

The Atomos screen uses a combination of advanced LED and LCD technologies which together offer deeper, better blacks the company says rivals OLED screens, “but with the much higher brightness and vivid color performance of top-end LCDs.”

A new 360-zone backlight is combined with this new screen technology and controlled by the Dynamic AtomHDR engine to show millions of shades of brightness and color. It allows Shogun 7 to display 15+ stops of real dynamic range on-screen. The panel, says Atomos, is also incredibly accurate, with ultra-wide color and 105% of DCI-P3 covered, allowing for the same on-screen dynamic range, palette of colors and shades that your camera sensor sees.

Atomos and Dolby have teamed up to create Dolby Vision HDR “live” — a tool that allows you to see HDR live on-set and carry your creative intent from the camera through into HDR post. Dolby have optimized their target display HDR processing algorithm which Atomos has running inside the Shogun 7. It brings realtime automatic frame-by-frame analysis of the Log or RAW video and processes it for optimal HDR viewing on a Dolby Vision-capable TV or monitor over HDMI. Connect Shogun 7 to the Dolby Vision TV and AtomOS 10 automatically analyzes the image, queries the TV and applies the right color and brightness profiles for the maximum HDR experience on the display.

Shogun 7 records images up to 5.7kp30, 4kp120 or 2kp240 slow motion from compatible cameras, in RAW/Log or HLG/PQ over SDI/HDMI. Footage is stored directly to AtomX SSDmini or approved off-the-shelf SATA SSD drives. There are recording options for Apple ProRes RAW and ProRes, Avid DNx and Adobe CinemaDNG RAW codecs. Shogun 7 has four SDI inputs plus a HDMI 2.0 input, with both 12G-SDI and HDMI 2.0 outputs. It can record ProRes RAW in up to 5.7kp30, 4kp120 DCI/UHD and 2kp240 DCI/HD, depending on the camera’s capabilities. Also, 10-bit 4:2:2 ProRes or DNxHR recording is available up to 4Kp60 or 2Kp240. The four SDI inputs enable the connection of most quad-link, dual-link or single-link SDI cinema cameras. Pixels are preserved with data rates of up to 1.8Gb/s.

In terms of audio, Shogun 7 eliminates the need for a separate audio recorder. Users can add 48V stereo mics via an optional balanced XLR breakout cable, or select mic or line input levels, plus record up to 12 channels of 24/96 digital audio from HDMI or SDI. Monitoring selected stereo tracks is via the 3.5mm headphone jack. There are dedicated audio meters, gain controls and adjustments for frame delay.

Shogun 7 features the latest version of the AtomOS 10 touchscreen interface, first seen on the Ninja V.  The new body of Shogun 7 has a Ninja V-like exterior with ARRI anti-rotation mounting points on the top and bottom of the unit to ensure secure mounting.

AtomOS 10 on Shogun 7 has the full range of monitoring tools, including Waveform, Vectorscope, False Color, Zebras, RGB parade, Focus peaking, Pixel-to-pixel magnification, Audio level meters and Blue only for noise analysis.

Shogun 7 can also be used as a portable touchscreen-controlled multi-camera switcher with asynchronous quad-ISO recording. Users can switch up to four 1080p60 SDI streams, record each plus the program output as a separate ISO, then deliver ready-for-edit recordings with marked cut-points in XML metadata straight to your NLE. The current Sumo19 HDR production monitor-recorder will also gain the same functionality in a free firmware update.

There is asynchronous switching, plus use genlock in and out to connect to existing AV infrastructure. Once the recording is over, users can import the XML file into an NLE and the timeline populates with all the edits in place. XLR audio from a separate mixer or audio board is recorded within each ISO, alongside two embedded channels of digital audio from the original source. The program stream always records the analog audio feed as well as a second track that switches between the digital audio inputs to match the switched feed.

DP Chat: The Village cinematographer William Rexer

By Randi Altman

William Rexer is a cinematographer who has worked on documentaries, music videos, commercials and narratives — both comedies and dramas. He’s frequently collaborated with writer/director Ed Burns (Friends With Kids, Newlyweds, Summertime). Recently, he’s directed photography on several series including The Get Down, The Tick, Sneaky Pete and the new NBC drama The Village.

He sat down with us to answer some questions about his love of cinematography, his process and The Village, which follow a diverse group of people living in the same apartment building in Brooklyn.

The set of The Village. Photo: Peter Kramer

How did you become interested in cinematography?
When I was a kid, my mother had a theater company and my father was an agent/producer. I grew up sleeping backstage. When I was a teen, I was running a followspot (light) for Cab Calloway. I guess there was no escaping some job in this crazy business!

My father would check out 16mm movies from the New York City public library — Chaplin, Keaton — and that would be our weekend night entertainment. When I was in 8th grade, an art cinema started in my hometown; it is now called the Cinema Arts Center in Huntington, New York. It showed cinema from all over the world, including Bergman, Fellini, Jasny. I began to see the world through films and fell in love.

What inspires you artistically?
I love going to the movies, the theater and art galleries. Films like Roma and Cold War make me have faith in the world. What mostly inspires me is checking out what my peers are up to. Tim Ives, ASC, and Tod Campbell are two friends that I love to watch. Very impressive guys. David Mullen, ASC, and Eric Moynier are doing great work on Mrs. Maisel. I guess I would say watching my peers and their work inspires me.

NBC’s The Village

How do you stay on top of advancing technology tools for achieving your vision on set or in post?
The cameras and post workflow change every few months. I check in with the rental houses to stay on top of gear. Panavision, Arri Rental, TCS, Keslow and Abel are great resources. I also stay in touch with post houses. My friends at Harbor and Technicolor are always willing to help create LUTs, evaluate cameras and lenses.

Has any recent or new technology changed the way you work?
The introduction of the Red One MX and the ARRI D-20 changed a lot of things. They made shooting high-quality images affordable and cleaner for the environment. It put 35mm size sensors out there and gave a lot of young people a chance to create.

The introduction of large-format cameras, the Red Monstro 8K VV, the ARRI LF and 65, and the Sony Venice have made my life more interesting. All these sensors are fantastic, and the new color spaces we get to work with like Red’s IPP2 are truly astounding. I like having control of depth of field and controlling where the audience looks.

What are some of your best practices or rules you try to follow on each job?
I try my best to shoot tests, create a LUT in the test phase and take the footage through the entire process and see how it holds up. I make sure that all my monitors are calibrated at the post house to match; that gets us all on the same page. Then, I’ll adjust the LUT after a few days of shooting in the field, using the LUT as a film stock and light to it. I watch dailies, give notes and try to get in with colorist/timer and work with them.

Will Rexer (center) with showrunner Mike Daniels and director Minkie Spiro. Photo: Jennifer Rhoades

Tell us about The Village. How would you describe the general look of the show?
The look of The Village is somewhere between romantic realism and magical realism. It is a world that could be. Our approach was to thread that line between real and the potential — warm and inviting and full of potential.

Can you talk about your collaboration with the showrunner when setting the look of a project?
Mike Daniels, Minkie Spiro, Jessica Rhoades and I looked at a ton of photographs and films to find our look. The pilot designer Ola Maslik and the series designer Neil Patel created warm environments for me.

How early did you get involved in the production?
I had three weeks of prep for the pilot, and I worked with Minkie and Ola finding locations and refining the look.

How did you go about choosing the right camera and lenses to achieve the look?
The show required a decent amount of small gimbal work, so we chose the Red Monstro 8K VV using Red’s IPP2 color space. I love the camera, great look, great functionality and my team has customized the accessories to make our work on set effortless.

We used the Sigma Cine PL Primes with 180mm Leica R, Nikon 200 T2, Nikkor Zero Optik 58mm T1.2, Angenieux HR 25-250mm and some other special optics. I looked at other full-frame lenses but really liked the Sigma lenses and their character. These lenses are a nice mix of roundness and warmth and consistency.

What was your involvement with post? Who supported your vision from dailies through final grade? Have you worked with this facility and/or colorists on past projects?
Dailies were through Harbor Picture Company. I love these guys. I have worked with Harbor since they started, and they are total pros. They have helped me create LUTs for many projects, including Public Morals.

The final post for The Village was done in LA at NBC/Universal. Craig Budrick has done a great job coloring the show. I do wish that I could be in the room, but that’s not always possible.

What’s most satisfying to you about this show?
I am very proud of the show and its message. It’s a romantic vision of the world. TV and cinema often go to the dark side. I like going there, but I do think we need to be reminded of our better selves and our potential.


Randi Altman is the founder and editor-in-chief of postPerspective. She has been covering production and post production for more than 20 years. 

Review: Mzed.com’s Directing Color With Ollie Kenchington

By Brady Betzel

I am constantly looking to educate myself, no matter what the source — or subject. Whether I am learning how to make a transition in Adobe After Effects from an eSports editor on YouTube to Warren Eagles teaching color correction in Blackmagic’s DaVinci Resolve on FXPHD.com, I’m always beefing up my skills. I even learn from bad tutorials — they teach you what not to do!

But when you come across a truly remarkable learning experience, it is only fair to share with the rest of the world. Last year I saw an ad for an MZed.com course called “Directing Color With Ollie Kenchington,” and was immediately interested. These days you can pretty much find any technical tutorial you can dream of on YouTube, but truly professional, higher education-like, theory-based education series are very hard to come by. Even ones you need to pay for aren’t always worth their price of admission, which is a huge let down.

Ollie sharing his wisdom.

Once I gained access to MZed.com I wanted to watch every educational series they had. From lighting techniques with ASC member Shane Hurlbut to the ARRI Amira Camera Primer, there are over 150 hours of education available from industry leaders. However, I found my way to Directing Color…

I am often asked if I think people should go to college or a film school. My answer? If you have the money and time, you should go to college followed by film school (or do both together, if the college offers it). Not only will you learn a craft, but you will most likely spend hundreds of hours studying and visualizing the theory behind it. For example, when someone asks me about the science behind camera lenses, I can confidently answer them thanks to my physics class based on lenses and optics from California Lutheran University (yes, a shameless plug).

In my opinion, a two-, four- or even 10-year education allows me to live in the grey. I am comfortable arguing for both sides of a debate, as well as the options that are in between —  the grey. I feel like my post-high school education really allowed me to recognize and thrive in the nuances of debate. Leaving me to play devil’s advocate maybe a little too much, but also having civil and proactive discussions with others without being demeaning or nasty — something we are actively missing these days. So if living in the grey is for you, I really think a college education supplemented by online or film school education is valuable (assuming you make the decision that the debt is worth it like I did).

However, I know that is not an option for everyone since it can be very expensive — trust me, I know. I am almost done paying off my undergraduate fees while still paying off my graduate ones, which I am still two or three classes away from finishing. That being said, Directing Color With Ollie Kenchington is the only online education series I have seen so far that is on the same level as some of my higher education classes. Not only is the content beautifully shot and color corrected, but Ollie gives confident and accessible lessons on how color can be used to draw the viewer’s attention to multiple parts of the screen.

Ollie Kenchington is a UK-based filmmaker who runs Korro Films. From the trailer of his Directing Color series, you can immediately see the beauty of Ollie’s work and know that you will be in safe hands. (You can read more about his background here.)

The course raises the online education bar and will elevate the audiences idea of professional insight. The first module “Creating a Palette” covers the thoughts behind creating a color palette for a small catering company. You may even want to start with the last Bonus Module “Ox & Origin” to get a look at what Ollie will be creating throughout the seven modules and about an hour and a half of content.

While Ollie goes over “looks,” the beauty of this course is that he goes through his internal thought processes including deciding on palettes based on color theory. He didn’t just choose teal and orange because it looks good, he chooses his color palette based on complementary colors.

Throughout the course Ollie covers some technical knowledge, including calibrating monitors and cameras, white balancing and shooting color charts to avoid having wrong color balance in post. This is so important because if you don’t do these simple steps, your color correction session while be much harder. And wasting time on fixing incorrect color balance takes time away from the fun of color grading. All of this is done through easily digestible modules that range from two to 20 minutes.

The modules include Creating a Palette; Perceiving Color; Calibrating Color; Color Management; Deconstructing Color 1 – 3 and the Bonus Module Ox & Origin.

Without giving away the entire content in Ollie’s catalog, my favorite modules in this course are the on-set modules. Maybe because I am not on-set that often, but I found the “thinking out loud” about colors helpful. Knowing why reds represent blood, which raise your heart rate a little bit, is fascinating. He even goes through practical examples of color use in films such as in Whiplash.

In the final “Deconstructing Color” modules, Ollie goes into a color bay (complete with practical candle backlighting) and dives in Blackmagic’s DaVinci Resolve. He takes this course full circle to show how since he had to rush through a scene he can now go into Resolve and add some lighting to different sides of someone’s face since he took time to set up proper lighting on set, he can focus on other parts of his commercial.

Summing Up
I want to watch every tutorial MZed.com has to offer. From “Philip Bloom’s Cinematic Masterclass” to Ollie’s other course “Mastering Color.” Unfortunately, as of my review, you would have to pay an additional fee to watch the “Mastering Color” series. It seems like an unfortunate trend in online education to charge a fee and then when an extra special class comes up, charge more, but this class will supposedly be released to the standard subscribers in due time.

MZed.com has two subscription models: MZed Pro, which is $299 for one year of streaming the standard courses, and MZed Pro Premium for $399. This includes the standard courses for one year and the ability to choose one “Premium” course.

“Philip Bloom’s Cinematic Master Class” was the Premium course I was signed up for initially, but you you can decide between this one and the “Mastering Color” course. You will not be disappointed regardless of which one you choose. Even their first course “How to Photograph Everyone” is chock full of lighting and positioning instruction that can be applied in many aspects of videography.

I really was impressed with Directing Color with Ollie Kenchington, and if the other course are this good MZed.com will definitely become a permanent bookmark for me.


Brady Betzel is an Emmy-nominated online editor at Margarita Mix in Hollywood, working on Life Below Zero and Cutthroat Kitchen. You can email Brady at bradybetzel@gmail.com. Follow him on Twitter @allbetzroff.

Atomos offering Shinobi SDI camera-top monitor

On the heels of its successful Shinobi launch in March, Atomos has introduced Atomos Shinobi SDI, a
super-lightweight, 5-inch HD-SDI and 4K HDMI camera-top monitor. Its color-accurate calibrated display makes makes it suitable compact HDR and SDR reference monitor. It targets the professional video creator who uses or owns a variety of cameras and camcorders and needs the flexibility of SDI or HDMI, accurate high bright and HDR, while not requiring external recording capability.

Shinobi SDI features a compact, durable body combined with an ultra-clear, ultra-bright, daylight viewable 1000-nit display. The anti-reflection, anti-fingerprint screen has a pixel density of 427PPI (pixels per inch) and is factory calibrated for color accuracy, with the option for in-field calibration providing ongoing accuracy. Thanks to the
HD-SDI input and output, plus a 4K HDMI input, it can be used in most productions.

This makes Shinobi SDI a useful companion for high-end cinema and production cameras, ENG cameras, handheld camcorders and any other
HD-SDI equipped source.

“Our most requested product in recent times has been a stand-alone SDI monitor. We are thrilled to be bringing the Atomos Shinobi SDI to market for professional video and film creators,” says Jeromy Young, CEO of Atomos.

ARRI’s new Alexa Mini LF offers large-format sensor in small footprint

Offering a large-format sensor in a small form factor, ARRI has introduced its new Alexa Mini LF camera, which combines the compact size and low weight of the Alexa Mini with the large-format Alexa LF sensor. According to the company, it “provides the best overall image quality for large-format shooting” and features three internal motorized FSND filters, 12V power input, extra power outputs, a new Codex Compact Drive and a new MVF-2 high-contrast HD viewfinder.

The new Alexa Mini LF cameras are scheduled to start shipping in mid-2019.

ARRI’s large-format camera system, launched in 2018, is based around a 4.5K version of the Alexa sensor, which is twice the size and offers twice the resolution of Alexa cameras in 35 format. This allows for large-format looks, with improvements on the Alexa sensor’s natural colorimetry, pleasing skin tones, low noise and it’s suitable for HDR and Wide Color Gamut workflows.

Alexa Mini LF now joins the existing system elements: the high-speed capable Alexa LF camera; ARRI Signature Prime lenses; LPL lens mount and PL-to-LPL adapter; and Lens Data System LDS-2. The combined feature sets and form factors of ARRI’s two large-format cameras encompass all on-set requirements.

The Alexa Mini LF is built for use in challenging professional conditions. It features a hard-wearing carbon body and a wide temperature range of -4° F to +113° F, and each Alexa Mini LF is put through a vigorous stress test before leaving the ARRI factory and is then supported by ARRI’s global service centers.

While Alexa Mini LF is compatible with almost all Alexa Mini accessories, the company says it brings significant enhancements to the Mini camera design. Among them are extra connectors, including regulated 12V and 24V accessory power; a new 6-pin audio connector; built-in microphones; and improved WiFi.

Six user buttons are now in place on the camera’s operating side, and the camera and viewfinder each have their own lock button, while user access to the recording media, and VF and TC connectors, has been made easier.

Alexa Mini LF allows internal recording of MXF/ARRIRAW or MXF/Apple ProRes in a variety of formats and aspect ratios, and features the new Compact Drive recording media from Codex, an ARRI technology partner. This small and lightweight drive offers 1TB of recording. It comes with a USB-C Compact Drive reader that can be used without any extra software or licenses on Mac or Windows computers. In addition, a Compact Drive adapter can be used in any dock that accepts SXR Capture Drives, potentially more than doubling download speeds.

Another development from Codex is Codex High Density Encoding (HDE), which uses sophisticated, loss-less encoding to reduce ARRIRAW file sizes by around 40% during downloading or later in the workflow. This lowers storage costs, shortens transfer times and speeds up workflows.

HDE is free for use with Codex Capture or Compact Drives, openly shared and fast: ARRIRAW Open Gate 4.5K can be encoded at 24fps on a modern MacBook Pro.

ARRI’s new MVF-2 viewfinder for the Alexa Mini LF is the same high-contrast HD OLED display, color science and ARRICAM eyepiece as in Alexa LF’s EVF-2 viewfinder, allowing optimal judgment of focus, dynamic range and color on set.

In addition, the MVF-2 features a large, four-inch flip-out monitor that can display the image or the camera control menu. The MVF-2 can be used on either side of the camera and connects via a new CoaXPress VF cable that has a reach of up to 10m for remote camera operations. It features a refined user interface, a built-in eyepiece lens heater for de-fogging and a built-in headphones connector.

DP Tom Curran on Netflix’s Tidying Up With Marie Kondo

By Iain Blair

Forget all the trendy shows about updating your home décor or renovating your house. What you really need to do is declutter. And the guru of decluttering is Marie Kondo, the Japanese star of the hot Netflix show Tidying Up With Marie Kondo.

The organizational expert became a global star when her first book, 2014’s “The Life-Changing Magic of Tidying Up: The Japanese Art of Decluttering and Organizing,” was translated into English, becoming a New York Times bestseller. Her follow-up was 2016’s “Spark Joy: An Illustrated Master Class on the Art of Organizing and Tidying Up.”

Tom Curran

Clearly, people everywhere need to declutter, and Kondo’s KonMari Method is the answer for those who have too much stuff. As she herself puts it, “My mission is to organize the world and spark joy in people’s lives. Through this partnership with Netflix, I am excited to spread the KonMari Method to as many people as possible.”

I recently spoke with Tom Curran, the cinematographer of the Kondo show. His extensive credits include Ugly Delicious for Netflix, Fish My City for National Geographic and 9 Months for Facebook, which is hosted by Courteney Cox. Curran has an Emmy on his mantle for ABC Sports’ Iditarod Sled Dog Race.

Let’s start with the really important stuff. Do you have too much clutter? Has Marie’s philosophy helped you?
(Laughs). It has! I think we all have too much stuff. To be honest, I was a little skeptical at first about all this. But as I spent time with her and educated myself, I began to realize just how much there is to it. I think that it particularly applies to the US, where we all have so much and move so quickly.

In her world, you come to a pause and evaluate all of that, and it’s really quite powerful. And if you follow all of her steps, you can’t do it quickly. It forces you to slow down and take stock. My wife is an editor, and we’re both always so busy, but now we take little pockets of time to attack different parts of the house and the clutter we have. It’s been really powerful and helpful to us.

Why do you think her method and this show have resonated so much with people everywhere?
Americans tend to get so busy and locked into routines, and Japan’s culture is very different. I’ve worked there quite a bit, and she brings this whole other quality to the show. She’s very thoughtful and kind. I think the show does a good job of showing that, and you really feel it. An awful lot of current TV can be a little sharp and mean, and there’s something old-fashioned about this, and audiences really respond. She doesn’t pass judgment on people’s messy houses — she just wants to help.

You’re well-known for shooting in extreme conditions and locations all over the world. How did this compare?
It was radically different in some ways. Instead of vast and bleak landscapes, like Antarctica, you’re shooting the interiors of people’s homes in LA. Working with EP Hend Baghdady and showrunner Bianca Barnes-Williams, we set out to redefine how to showcase these homes. We used some of the same principles, like how to incorporate these characters into their environment and weave the house into the storyline. That was our main goal.

What were the challenges of shooting this show?
A big one was keeping ourselves out of the shot, which isn’t so easy in a small space. Also, keeping Marie central to all the storytelling. I’ve done several series before, shooting in people’s homes, like Little People, Big World, where we stayed in one family’s home for many years. With this show the crew was walking into their homes for a far shorter time, and none of them were actors. The were baring their souls.

Cleaning up all their clutter before we arrived was contrary to what the show’s all about, so you’re seeing all the ugly. My background’s in cinéma vérité, and a lot of this was stripping back the way these types of unscripted shows are usually done — with multiple cameras. We did use multiple cameras, but often it was just one, as you’re in a tiny room, where there’s no space for another, and we’re shooting wide since the main character in most stories was the home.

As well as being a DP you’re also the owner of Curran Camera, Inc. Did you supply all the camera gear for this through your company?
Sometimes I supply equipment for a series, sometimes not. It all depends on what the project needs. On this, when Hend, Bianca and I began discussing different camera options, I felt it wasn’t a series we could shoot on prime lenses, but we wanted the look that primes would bring. We ended up working with Fujinon Cabrio Cine Zooms and Canon cameras, which gave us a really filmic look, and we got most of our gear from T-stop Camera Rentals in LA. In fact, the Fujinon Cabrio 14-35mm became the centerpiece of the storytelling in the homes because of its wide lens capture — which was crucial for scenes with closets and small rooms and so on.

I assume all the lighting was a big challenge?
You’re right. It was a massive undertaking because we wanted to follow all the progress in each home. And we didn’t want it to be a dingy, rough-looking show, especially since Marie represented this bright light that’d come into people’s homes and then it would get brighter and brighter. We ended up bringing in all the lighting from the east coast, which was the only place I could source what I needed.

For Marie’s Zen house we had a different lighting package with dozens of small fresnels because it was so calm and stood still. For the homes and all the movement, we used about 80 Flex lights — paper-thin LED lights that are easily dimmable and quick to install and take down. Even though we had a pretty small crew, we were able to achieve a pretty consistent look.

How did the workflow operate? How did you deal with dailies?
Our post supervisor Joe Eckardt was pretty terrific, and I’d spend a lot of time going through all the dailies and then give a big download to the crew once a week. We had six to eight camera operators and three crews with two cameras and additional people some days. We had so much footage, and what ended up on screen is just a fraction of what we shot. We had a lot of cards at the end of every day, and they’d be loaded into the post system, and then a team of 16 editors would start going through it all.  Since this was the first season, we were kind of doing it on the fly and trying different techniques to see what worked best.

Color correction and the mix was handled by Margarita Mix. How involved were you in post and the look of the show?
I was very involved, especially early on. Even in the first month or so we started to work on the grade a bit to get some patterns in place; that helped carry us through. We set out to capture a really naturalistic look, and a lot of the homes were very cramped, so we had to keep the wrong lighting look looking wrong, so to speak. I’m pretty happy with what we were able to do. (Margarita Mix’s Troy Smith was the colorist.)

How important is post to you as a DP?
It’s hard to overstate. I’d say it’s not just a big piece of the process, it is the process. When we’re shooting, I only really think about three things; One, what is the story we’re trying to tell? Two, how can we best capture that, particularly with non-actors. How do you create an environment of complete trust where they basically just forget about you? How do we capture Marie doing her thing and not break the flow, since she’s this standup performer? Three, how do we give post what they need? If we’re not giving editorial the right coverage, we’re not doing our job. That last one is the most important to me — since I’m married to an editor, I’m always so aware of post.

The first eight shows aired in January. When is the next season?
We’ve had some light talks about it, and I assume since it’s so popular we’ll do more, but nothing’s finalized yet. I hope we do more.  I love this show.


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.

Red Ranger all-in-one camera system now available

Red Digital Cinema has made its new Red Ranger all-in-one camera system available to select Red authorized rental houses. Ranger includes Red’s cinematic full-frame 8K sensor Monstro in an all-in-one camera system, featuring three SDI outputs (two mirrored and one independent) allowing two different looks to be output simultaneously; wide-input voltage (11.5V to 32V); 24V and 12V power outs (two of each); one 12V P-Tap port; integrated 5-pin XLR stereo audio input (Line/Mic/+48V Selectable); as well as genlock, timecode, USB and control.

Ranger is capable of handling heavy-duty power sources and boasts a larger fan for quieter and more efficient temperature management. The system is currently shipping in a gold mount configuration, with a v-lock option available next month.

Ranger captures 8K RedCode RAW up to 60fps full-format, as well as Apple ProRes or Avid DNxHR formats at 4K up to 30fps and 2K up to 120fps. It can simultaneously record RedCode RAW plus Apple ProRes or Avid DNxHD or DNxHR at up to 300MB/s write speeds.

To enable an end-to-end color management and post workflow, Red’s enhanced image processing pipeline (IPP2) is also included in the system.

Ranger ships complete, including:
• Production top handle
• PL mount with supporting shims
• Two 15mm LWS rod brackets
• Red Pro Touch 7.0-inch LCD with 9-inch arm and LCD/EVF cable
• LCD/EVF adaptor A and LCD/EVF adaptor D
• 24V AC power adaptor with 3-pin 24V XLR power cable
• Compatible Hex and Torx tools

Shooting, posting New Republic’s Indie film, Sister Aimee

After a successful premiere at the Sundance Film Festival, New Republic Studios’ Sister Aimee screened at this month’s SXSW. The movie tells the story of an infamous American evangelist of the 1920s, Sister Aimee Semple McPherson, who gets caught up in her lover’s dreams of Mexico and finds herself on a road trip toward the border.

Sister Aimee shot at the newly renovated New Republic Studios near Austin, Texas, over two and a half weeks. “Their crew used our 2,400-square-foot Little Bear soundstage, our 3,000-square-foot Lone Wolf soundstage, our bullpen office space and numerous exterior locations in our backlot,” reports New Republic Studios president Mindy Raymond, adding that the Sister Aimee production also had access to two screening rooms with 5.1 surround sound, HDMI hookups to 4K monitors and theater-style leather chairs to watch dailies. The film also hit the road, shooting in the New Mexico desert.

L-R: Directors Samantha Buck, Marie Schlingmann at SXSW. Credit: Harrison Funk

Co-written and co-directed by Samantha Buck and Marie Schlingmann, the movie takes some creative license with the story of Aimee. “We don’t look for factual truth in Aimee’s journey,” they explain. “Instead we look for a more timeless truth that says something about female ambition, the female quest for immortality and, most of all, the struggle for women to control their own narratives. It becomes a story about storytelling itself.”

The film, shot by cinematographer Carlos Valdes-Lora at 3.2K ProRes 4444 XQ on an Arri Alexa Mini, was posted at Dallas and Austin-based Charlieuniformtango.

We reached out to the DP and the post team to find out more.

Carlos, why did you choose the package of the Alexa and Cooke Mini S4 Primes?
Carlos Valdes-Lora: In early conversations with the directors, we all agreed that we didn’t want Sister Aimee to feel like a traditional period movie. We didn’t want to use softening filters or vintage lenses. We aimed instead for clear images, deep focus and a rich color palette that remains grounded in the real world. We felt that this would lend the story a greater sense of immediacy and draw the viewer closer to the characters. Following that same thinking, we worked very extensively with the 25mm and 32mm, especially in closeups and medium closeups, emphasizing accessibility.

The Cooke Mini S4s are a beautiful and affordable set (relative to our other options.) We like the way they give deep dimensionality and warmth to faces, and how they create a slightly lower contrast image compared to the other modern lenses we looked at. They quickly became the right choice for us, striking the right balance between quality, size and value.

The Cookes paired with the Alexa Mini gave us a lightweight camera system with a very contained footprint, and we needed to stay fast and lean due to our compressed shooting schedule and often tight shooting quarters. The Chapman Cobra dolly was a big help in that regard as well.

What was the workflow to post like?
Charlieuniformtango producers Bettina Barrow, Katherine Harper, David Hartstein: Post took place primarily between Charlieuniformtango’s Dallas and Austin offices. Post strategizing started months before the shoot, and active post truly began when production began in July 2018.

Tango’s Evan Linton handled dailies brought in from the shoot, working alongside editor Katie Ennis out of Tango’s Austin studio, to begin assembling a rough cut as shooting continued. Ennis continued to cut at the studio through August with directors Schlingmann and Buck.

Editorial then moved back to the directors’ home state of New York to finish the cut for Sundance. (Editor Ennis, who four-walled out of Tango Austin for the first part of post, went to  New York with the directors, working out of a rented space.)

VFX and audio work started early at Tango, with continuously updated timelines coming from editorial, working to have certain locked shots also finished for the Sundance submission, while saving much of the cleanup and other CG heavy shots for the final picture lock.

Tango audio engineer Nick Patronella also tackled dialogue edit, sound design and mix for the submission out of the Dallas studio.

Can you talk about the VFX?
Barrow, Harper, Hartstein: The cut was locked in late November, and the heavy lifting really began. With delivery looming, Tango’s Flame artists Allen Robbins, Joey Waldrip, David Hannah, David Laird, Artie Peña and Zack Smith divided effects shots, which ranged from environmental cleanup, period-specific cleanup, beauty work such as de-aging, crowd simulation, CG sign creation and more. 3D

(L-R) Tango’s Artie Peña, Connor Adams, Allen Robbins in one of the studio’s Flame suites.

Artist Connor Adams used Houdini, Mixamo and Maya to create CG elements and crowds, with final comps being done in Nuke and sent to Flame for final color. Over 120 VFX shots were handled in total and Flame was the go-to for effects. Color and much of the effects happened simultaneously. It was a nice workflow as the project didn’t have major VFX needs that would have impacted color.

What about the color grade?
Barrow, Harper, Hartstein: Directors Buck and Schlingmann and DP Valdes-Lora worked with Tango colorist Allen Robbins to craft the final look of the film — with the color grade also done in Flame. The trio had prepped shooting for a Kodachrome-style look, especially for the exteriors, but really overall. They found important reference in selections of Robert Capa photographs.

Buck, Schlingmann and Valdes-Lora responded mostly to Kodachrome’s treatment of blues, browns, tans, greens and reds (while staying true to skin tone), but also to their gamma values, not being afraid of deep shadows and contrast wherever appropriate. Valdes-Lora wanted to avoid lighting/exposing to a custom LUT on set that would reflect this kind of Kodachrome look, in case they wanted to change course during the process. With the help of Tango, however, they discovered that by dialing back the Capa look it grounded the film a little more and made the characters “feel” more accessible. The roots of the inspiration remained in the image but a little more naturalism, a little more softness, served the story better.

Because of that they monitored on set with Alexa 709, which he thought exposing for would still provide enough room. Production designer Jonathan Rudak (another regular collaborator with the directors) was on the same page during prep (in terms of reflecting this Capa color style), and the practical team did what they could to make sure the set elements complemented this approach.

What about the audio post?
Barrow, Harper, Hartstein: With the effects and color almost complete, the team headed to Skywalker Ranch for a week of final dialogue edit, mix, sound design and Foley, led by Skywalker’s Danielle Dupre, Kim Foscato and E. Larry Oatfield. The team also was able to simultaneously approve color sections in Skywalker’s Stag Theater allowing for an ultra-efficient schedule. With final mix in hand, the film was mastered just after Christmas so that DCP production could begin.

Since a portion of the film was musical, how complex was the audio mix?
Skywalker sound mixer Dupre: The musical number was definitely one of the most challenging but rewarding scenes to design and mix. It was such a strong creative idea that played so deeply into the main character. The challenge was in striking a balance between tying it into the realism of the film while also leaning into the grandiosity of the musical to really sell the idea.

It was really fun to play with a combination of production dialogue and studio recordings to see how we could make it work. It was also really rewarding to create a soundscape that starts off minimally and simply and transitions to Broadway scale almost undetectably — one of the many exciting parts to working with creative and talented filmmakers.

What was the biggest challenge in post?
Barrow, Harper, Hartstein: Finishing a film in five to six weeks during the holidays was no easy feat. Luckily, we were able to have our directors hands-on for all final color, VFX and mix. Collaborating in the same room is always the best when you have no time to spare. We had a schedule where each day was accounted for — and we stuck to it almost down to the hour.

 

DP Chat: Madam Secretary’s Learan Kahanov

By Randi Altman

Cinematographer Learan Kahanov’s love of photography started at an early age, when he would stage sequences and scenes with his Polaroid camera, lining up the photos to create a story.

He took that love of photography and turned it into a thriving career, working in television, features and commercials. He currently works on the CBS drama Madam Secretary — where he was initially  hired to be the A-camera operator and additional DP. He shot 12 episodes and tandem units, then he took over the show fully in Season 3. The New York-shot, Washington, DC-set show stars Téa Leoni as the US Secretary of State, following her struggle to balance her work and personal life.

We recently reached out to Kahanov to find out more about his path, as well as his workflow, on Madam Secretary.

Learan Kahanov on set with director Rob Greenlea.

Can you talk about your path to cinematography?
My mother is a sculptor and printmaker, and when I was in middle school, she went back to get a degree in fine arts with a minor in photography. This essentially meant I was in tow, on many a weeknight, to the darkroom so she could do her printing and, in turn, I learned as well.

I shot mostly black and white all through middle school and high school. I would often use my mother’s art studio to shoot the models who posed for the drawing class she taught. Around the same time, I developed a growing fascination with animal behavior and strove to become a wildlife photographer, until I realized I didn’t have the patience to sit in a tree for days to get the perfect shot.

I soon turned my attention to videography while working at a children’s museum, teaching kids how to use the cameras and how to make short movies. I decided to pursue cinematography officially in high school. I eventually found myself at NYU film school, based off my photography portfolio. As soon as I got to New York City, I started working on indie films, as an electrician and gaffer, shooting every student film and indie project I could.

What inspires you artistically? And how do you simultaneously stay on top of advancing technology that serves your vision?
I could list artists or filmmakers whose work I gravitate to, but the main thing I learned from my mother about art is that it’s about a feeling. Whether it’s being affected by a beautifully photographed image of a woman in a commercial or getting sucked into the visuals in a wildlife documentary, if you can invoke a feeling and or create an emotion you have made art.

Madam Secretary

I am always looking at things around me, and I’m always aware of how light falls on the world around me. Or how the shape of everyday objects and places change depending on the time, the weather or just my mood at the moment.

My vision of a project is always born out of the story, so the key for me is to always use technology (new or old) to support that story. Sometimes the latest in LED technology is the right tool for the job, sometimes it’s a bare light bulb attached to the underside of a white, five-gallon paint bucket (a trick Gaffer Jack Coffin and I use quite often). I think the balance between vision and technology is a two-way street — the key is to recognize when the technology serves your vision or the other way around.

What new technology has changed the way you work?
In the area of lighting, I have found that no matter what new tools come onto the scene, I still hold true to my go-to lighting techniques that I have preferred for years.

A perfect example would be my love for book lights — a book light is a bounced light that then goes through another layer of diffusion, which is perfect for lighting faces. Whether I am using an old Mole Richardson 5K tungsten unit or the newer ARRI S60 SkyPanels, the concept and end result are basically the same.

That being said, for location work the ARRI LED SkyPanels have become one of the go-to units on my current show, Madam Secretary. The lights’ high-output, low-power consumption, ease for matching existing location color sources and quick effects make them an easy choice for dealing with the faster-paced TV production schedule.

On-set setup

One other piece of gear that I have found myself calling for on a daily basis, since my key grip Ted Lehane introduced me to. It’s a diffusion material called Magic Cloth, which is produced by The Rag Place. This material can work as a bounce, as well as a diffusion, and you can directly light through. It produces a very soft light, as it’s fairly thick, but it does not change the color temperature of the source light. This new material, in conjunction with new LED technology, has created some interesting opportunities for my team.

Many DPs talk about the latest digital sensor, camera support (drone/gimbals, etc.) or LED lighting, but sometimes it’s something very simple, like finding a new diffusion material that can really change the look and the way I work. In fact, I think gripology in general often gets overlooked in the current affairs of filmmaking where everything seems to need to be “state of the art.”

What are some of your best practices or rules that you try to follow on each job?
I have one hard and fast rule in any project I shoot: support the story! I like to think of myself as a filmmaker first, using cinematography as a way to contribute to the filmmaking process. That being said, we can create lots of “rules” and have all the “go-to practices” to create beautiful images, but if what you are doing doesn’t advance the story, or at the very least create the right mood for the scene, then you are just taking a picture.

There are definite things I do because I simply prefer how it looks, but if it doesn’t make sense for the scene/move (based on the directors and my vision), I will then adjust what I do to make sure I am always supporting the story. There are definitely times where a balance is needed. We don’t create in a bubble, as there are all the other factors to consider, like budget, time, shooting conditions, etc. It’s this need/ability to be both technician and artisan that excites me the most about my job.

Can you explain your ideal collaboration with the director when setting the look of a project?
When working in episodic TV, every episode — essentially every eight days — there is a different director. Even when I have a repeat director, I have to adapt quickly between each director’s style. This goes beyond just being a chameleon from a creative standpoint — I need to quickly establish trust and a short hand to help the director put their stamp on their episode, all while staying within the already established look of the show.

Madam Secretary

I have always considered myself not an “idea man” but rather a “make-the-idea-better” man. I say this because being able to collaborate with a director and not just see their vision, but also enhance it and take it a step further (and see their excitement in the process), is completely fulfilling.

Tell us about Madam Secretary. How would you describe the overarching look of the show? How early did you get involved in the production?
I have been a part of Madam Secretary since the beginning, minus the pilot. I was hired as the A camera operator and as an additional DP. Jonathan Brown, ASC, shot the pilot and was the DP for the first two seasons. He was also one of our directors for the first three seasons. In addition to shooting tandem/2nd unit days and filling on scout days, I was the DP whenever Jonathan directed. So while I didn’t create the initial look of the show, I worked closely with Jonathan as the seasons went on until I officially took over in the third season.

Since I took over (and during my episodes), I felt an obligation to hold true to the original look and the intent of the show, while also adding my personal touch and allowing the show’s look to evolve with the series. The show does give us opportunities every week to create something new. While the reoccurring sets/locations do have a relatively set look, every episode takes us to new parts of the world and to new events.

It gives the director, production team and me an opportunity to create different looks and aesthetics to differentiate it from Madam Secretary’s life in DC. While it’s a quick schedule to prep,  research and create new looks for convincing foreign locations every episode (we shoot 99% of the show in New York), it is a challenge that brings a creativity and excitement to the job that I really enjoy.

Learan Kahanov on set with Hillary Clinton for the episode E Pluribus Unum.

Can you talk about what you shoot on and what lenses you use, etc.?
The show is currently shooting on Alexa SXTs with Leica Summicron Prime lenses and Fujinon Cabrio zooms. One of the main things I did when I officially took over the show was to switch to Lecia Primes. We did some testing with Tèa Leoni and Tim Daly on our sets to see how the lenses treated skin tones.

Additionally, we wanted to see how they reacted to the heavy backlight and to the blown out windows we have on many of our sets. We all agreed that the lenses were sharp, but also realized that they created a softer feel on our actors faces, had a nice focus fall-off and they handled the highlights really well. They are flexible enough to help me create different looks while still retaining a consistency for the show. The lenses have an interesting flare characteristic that sometimes makes controlling them difficult, but it all adds to the current look of the show and has yet to be limiting.

You used a Blackmagic Pocket Cinema camera for some specialized shots. Can you describe those?
The show has many scenes that entail some specialized shots that need a small but high-res camera that has an inherently different feel from the Alexa. These shots include webcam and security camera footage. There are also many times when we need to create body/helmet cam footage to emulate images recorded from military/police missions that then were played back in the president’s situation room. That lightweight, high-quality camera allows for a lot of flexibility. We also employ other small cameras like GoPro and DJI Osmo, as well as the Sony A7RII with PL mount.

Madam Secretary

Any challenging scenes that you are particularly proud of?
I don’t think there is an episode that goes by without some type of challenge, but one in particular that I was really happy with took place on a refugee boat in the middle of the Mediterranean Sea.

The scene was set at night where refugees were making a harrowing trip from the north coast of Libya to France. Since we couldn’t shoot on the ocean at night, we brought the boat and a storm into the studio.

Our production designer and art department cut a real boat in half and brought it onto the stage. Drew Jiritano and his special effects team then placed the boat on a gimbal and waterproofed the stage floor so we could place rain towers and air cannons to simulate a storm in the middle of the sea.

Using a technocrane, handheld cameras and interactive lighting, we created a great scene that immersed the audience in a realistic depiction of the dramatic journey that happens more often than most Americans realize.


Randi Altman is the founder and editor-in-chief of postPerspective. She has been covering production and post production for more than 20 years.