Come #behindthescenes on the #cinematography of #TheLowdown with #DP ‘s @tuckerstone and @markschwartzbard . Stone, who shot the pilot and set the tone for the series, tells us, “The Lowdown pilot has a vibey, rough-hewn look – intentionally loose, energetic, and fun. We wanted the visuals to match the spirit and momentum of the script. We drew inspiration from the classic noir playbook, but ultimately pushed the aesthetic in our own direction. Whenever possible, we shot from the shadow side, with little fill, and relied on a hefty LUT to keep the low end rich and inky. At the same time, we wanted to honor the intensity of the Tulsa sun – something that runs counter to traditional noir, but felt essential to the story. #Panavision is consistently the most helpful and reliable camera house. With limited time and budget on the pilot, traveling to LA for lens tests wasn’t an option. Thankfully, Panavision shipped multiple lens sets a week before principal photography, giving us the time we needed to dial in the exact lenses and camera system for the project.” “The Lowdown comes out of the tradition of the ‘sunshine Neo-noir’,” says Schwartzbard, DP of some of the later episodes. “Adam Stone set the look in the pilot and established a great view of Tulsa – it’s a bit warm and nostalgic, a bit 70’s. The writing in the Lowdown is different, scenes are more centered on individual characters, and so the look that Adam established, and that [DP] @christophernorr2001 and I followed, was more about wider lenses closer up. [#LightIron Supervising #Colorist] @corinne.bogdanowicz graded all three seasons of #ReservationDogs, my last project with [#director] @sterlinharjo . She always does fantastic work salvaging my sloppy shooting, and navigating the inconsistencies of Oklahoma weather. Corinne and I followed the vibe Adam set up. We leaned into the 70s a bit more by adding film grain and keeping the HDR from peaking too high, I felt those were both important. Hopefully we ended up a bit retro, a bit timeless. I’ve been lucky to get to work with people like Sterlin, who are doing work that’s meaningful, humanist, and empathetic.” 📸 BTS Photography by @okshaneok

#LightIron Supervising #Colorist Corinne Bogdanowicz (@corinne.bogdanowicz ) took us #behindthescenes on the gritty, dynamic new noir series #TheLowdown. “The look of the show has a lot of warmth, and a bit of a dusty feel,” says Bogdanowicz. “We did keep some nice color separation in some areas, but we also have some scenes that are more monotone with warmth. We kept some darkness that plays into a bit of a noir feeling, and I used a lot of hue shifting to either create color separation or take it away, as necessary. I shaped a lot of scenes with windows to draw your eye appropriately, as well as keeping a darker vintage feel at times. I also used Livegrain to give some nice texture. I created a LUT for use on set that we followed through to finishing. I worked with #cinematographer Mark Schwartzbard (@markschwartzbard ) to create the LUT, and we did some in person and remote sessions to finish the final color. I also worked remotely with #DP Christopher Norr (@christophernorr2001 ) on some of the episodes. I had worked previously with Mark and show creator Sterlin Harjo (@sterlinharjo ) on #ReservationDogs; Mark and I collaborate well, and have a trust that comes with several seasons of working together.”

The final episode of Reservation Dogs drops tonight. Mvto shitasses, wherever you are.

As the final season of Reservation Dogs premieres I’m missing a lot of Oklahoma shitasses, for whom no flat was too salty, no field was too muddy, no forest too tick-infested, and no fashion too inspired.

Season 3 of Reservation Dogs comes out in August and I already miss these shitasses.

All 8 episodes of Based on a True Story are out now on Peacock, which, in unrelated news, seems to also have a massive archive of 80’s pro wrestling. It was a thrill tag teaming with @m_laws on this season.