Color Grading

Colorist: @jeanclementsoret ⠀ ⠀ #Repost @movingpicturecompany ⠀ We simply had to share these amazing stills for the new @jetblue campaign #JustAlrightDoesntFlyHere⠀ ⠀ Agency: @mullenloweus ⠀ Director: @timscoundrel ⠀ DP: Jan Velichy⠀ Prod. Co: @ruffian.co ⠀ VFX & Color: @movingpicturecompany ⠀ MPC CD: @alvinvision @ashleybernes ⠀ VFX Sup: @qnk.91 ⠀ Colorist: @jeanclementsoret @matthieu.toullet ⠀ ⠀ #colorgrading #cinematography #baselight #davinciresolve

Colorist: @tomopoole "To get more technical, we had a lookup table (LUT), provided by the show’s colorist Tom Poole, which we see on the set and it is used to determine the colours and contrast with which a particular scene or frame will be displayed in its final form." -Marcell Rév, thehindu.com Aug 2019⁠⠀ ⁠⠀ #repost @tomopoole ⁠⠀ Words cannot express how much I loved coloring ‘Euphoria ‘ for Dir @mistersamlev and DP @marcellrev . Also massive shoutout to @jcodybaker_cc who has been coloring the show with me. Great team 💪⁠⠀ ⁠⠀ DP: @marcellrev ⁠⠀ Dir: @mistersamlev ⁠⠀ Euphoria (2019)⁠⠀ ⁠⠀ follow @colorgrading_database ⁠⠀ ---⁠⠀ #colorgrading #davinciresolve #baselight #cinematographer #dop

Colorist: Fergus McCall⁠⠀ DP: Kasper Tuxen⁠⠀ Director: Martin De Thurah⁠⠀ ---⁠⠀ follow @colorgrading_database ⁠⠀ .⁠⠀ .⁠⠀ .⁠⠀ .⁠⠀ .⁠⠀ #colorgrading #davinciresolve #baselight #cinematographer #dop

Colorist: @NatashaLeonnet ⁠ “Leonnet says one of the main orders of business in the DI was to "introduce blue in the blacks to emulate the original Technicolor process." Sandgren likens the finished color to Superman's glossy hair. The cinematographer sat with Leonnet over several evenings after days shooting the sports bio Battle of the Sexes with directors Jonathan Dayton and Valerie Faris — and, again, Emma Stone. His last look at La La Land was at a remote session at Company 3 in London.” -@american_cinematographer Feb 2017⠀ ⠀ /articles/la-la-land-city-of-stars⠀ ⠀ DP: Linus Sandgren⁠⠀ Dir: Damien Chazelle⠀ La La Land (2016)⁠⠀ ---⁠⠀ follow @colorgrading_database ⁠

Colorist: @michaelhatzer "The most involved scene in No Country was the whole night-into-dawn exterior we discussed earlier. The DI was invaluable for that, especially for a bit involving a dog paddling down the river after Moss. One shot would be cloudy and the next would be in clean morning light, with reflections on the water. In the DI, I could use a Power Window to add a little highlight in the sky to create the impression that the sky was brighter and was reflecting in the water." - Roger Deakins @american_cinematographer (Oct 2007)⁠⠀ ⁠⠀ No Country for Old Men (2007)⁠⠀ DP:Roger Deakins ⁠⠀ Dir: Ethan Coen & Joel Coen⁠⠀ ⁠⠀ ---⁠⠀ follow @colorgrading_database ⁠⠀

Colorist: @yvan_lucas “Yes, the bottom of the curve is dense. We had a quality of blacks on the print that was sumptuous. I think that in digital we want to see so much into the blacks that we lose the character of the image.” -Yvan Lucas @american_cinematographer July 2019⁠⠀ ⁠⠀ Once Upon A Time in Hollywood (2019)⁠⠀ Dir: Quentin Tarantino⁠⠀ DP: Robert Richardson⁠⠀ ⁠⠀ bit.ly/OnceUponATimeInHollywoodColor⁠⠀ ⁠⠀ How did you and Bob arrive at the movie’s distinctive look?⁠⠀ ⁠⠀ The idea was to be very close to the original negative. The dailies were printed directly from negative to the positive print. The unique, vintage quality came from Bob’s lighting and, of course, the production design.⁠⠀ ⁠⠀ Bob is very demanding for the dailies — so demanding that, afterwards, when we got to the DI, it went pretty easily.⁠⠀ ⁠⠀ The film has an amazing saturation.⁠⠀ ⁠⠀ That comes partly from the print stock, 2383. Kodak came out with it about 20 years ago. This print film is very colorful, and the primary colors are really separated and very pronounced. It’s almost astounding. You get true red, green and blue — and Quentin told me, ‘When I see those colors, that’s when I know it’s film.’⁠⠀ ⁠⠀ Tell me about the show LUT that was created.⁠⠀ ⁠⠀ Our reference was the negative printed onto positive. The LUT allowed us to see the same thing as the dailies, but in digital. We did a lot of fastidious work on the LUT. We had the characteristics of the combined negative and positive baths from FotoKem, but I continued to adjust the details of the curve during the first four weeks of our dailies.⁠⠀ ⁠⠀ ⬆️Link to full article in Bio⁠⠀

Colorist: Steven J. Scott⁠⠀ DP: Emmanuel Lubezki⁠⠀ Birdman (2014)⁠⠀ ---⁠⠀ follow @colorgrading_database ⁠⠀ ⠀ ⬆️ link in description for video interview with Steve Scott.⠀ ⠀ Indiewire:⠀ ⠀ “There were so many windows involved — many places where you would want to open up a left eye or bring down the right eye or take some red out of the skin or brighten the sky or darken the foreground or make the base brighter as it flies off,” says Scott. “Plus, lots of animated, hand-tracked mattes for every shot. Every single moment in the movie, there is something going on like that, all directed for us by Chivo. He would give us notes on what he inevitably would like to be tracking, and what mattes he would like for what, and then we would, while he was gone, work on animating all of those mattes, so that by the time he came in, they were ready.” ⠀ But if Lubezki wanted to change mattes, Technicolor scrambled to make necessary adjustments. For example, if the cinematographer wanted to change the highlight on an actor’s cheek as they walk across the frame, Technicolor tracked a matte for that highlight and toned it down, just as the highlight comes into play.⠀ It was all part of a new way of blending color, editing and VFX into a seamless whole for this Don Quixote-inspired character study of ego and madness.”

Colorist: @mitch.paulson ⠀ DP: Roger Deakins⁠⠀ Sicario⠀ ---⁠⠀ follow @colorgrading_database ⁠⠀ ⠀ Roger Deakins Interview with @american_cinematographer :⠀ ⠀ Deakins: I toyed with making it a kind of bluish world, but then I thought it was more of a sodium look, an orange color. I exaggerated the color a little bit in DI, and it’s a little green because we took out some red. But it was quite warm when we shot it.⠀ ⠀ You've said you believe a film's look should be created on set, and that the DI is just for enhancements.⠀ ⠀ Deakins: Yes, I really think so. I like to get as close as I can to the look on set, unless I’m doing something extreme like O Brother, Where Art Thou? On this location, the color is balanced to the existing sodium lights on the warehouse wall. We didn’t do much in DI.⠀ ⠀ Did you really do the DI for Sicario in less than two weeks?⠀ ⠀ Deakins: Yes, it was actually one of the quickest projects I’ve ever timed — about seven days. But you think to yourself, ‘Something’s wrong. I must go through it again; there must be something I want to do.’ But a lot of the time I don’t like to fuss — on set or in the DI – because you can overthink things. You can play with the image and toy with it, and it becomes too overworked. With modern CGI techniques and the DI, you have so much power in the computer, and I think it’s overused. I like things to be simple and immediate.⠀ ⠀ ⠀ .⁠⠀ .⁠⠀ .⁠⠀ .⁠⠀ .⁠⠀ #colorgrading #davinciresolve #cinematographer #dop

Colorist: @mark_gethin ⠀ ⠀ Follow @colorgrading_database #colorgrading⠀ ---⠀ Repost @mark_gethin ⠀ Great to see @chivexp . Thanks for getting me involved in this beauty spot for @guerlain featuring Angelina Jolie⠀ ⠀ Director & DP: Emmanuel ‘Chivo’ Lubezki ⠀ Production Company: Park Pictures & Wanda Productions ⠀ VFX & Color: Moving Picture Company

Colorist: @jill.bogdanowicz DP: Robert D. Yeoman⁠⠀ Grand Budapest Hotel (2014)⁠⠀ ---⁠⠀ follow @colorgrading_database ⁠⠀ .⁠⠀ .⁠⠀ .⁠⠀ .⁠⠀ .⁠⠀ #colorgrading #davinciresolve #baselight #cinematographer #dop

Colorist: Peter Doyle⁠⠀ DP: Bruno Delbonnel⁠⠀ Inside LLewyn Davis (2013)⁠⠀ ---⁠⠀ follow @colorgrading_database ⁠⠀ .⁠⠀ .⁠⠀ .⁠⠀ .⁠⠀ .⁠⠀ #colorgrading #davinciresolve #baselight #cinematographer #dop

⁠⠀ Colorist: Dan Muscarella & Walter Volpatto⁠⠀ DP: Hoyte Van Hoytema Dunkirk (2017)⠀ ---⁠⠀ follow @colorgrading_database ⁠⠀ .⁠⠀ .⁠⠀ .⁠⠀ .⁠⠀ .⁠⠀ #colorgrading