LUT
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“The Weather Doesn’t Care What Your Budget Is”: Captain Marvel Colorist Doug Delaney on the Marvel Cinematic Universe
When Avengers: Endgame hits theaters in a few weeks, it will conclude a chapter in the Marvel Cinematic Universe that encompasses 22 films over more than a decade. Considering the disparate tones, settings and filmmakers involved in the “Infinity Saga,” the fact that the movies fit so seamlessly together and have been so consistently entertaining is a remarkable achievement. Part of the magic trick of integrating the superhero adventures into a cohesive whole comes from the work of colorists, who have been entrusted with ensuring the Tesseract glows the same shade of blue whether it appears in Thor, Infinity War or the […]
by Matt Mulcahey on Apr 4, 2019 -
Insecure DP Ava Berkofsky on Avoiding “Seinfeld Shots,” Faking Coachella and Lighting Mega-Churches
A row of symmetrically stacked airport luggage carts; the tumbling red-and-blue cylinders of a 7-Eleven Slurpee dispenser; the still life of neatly arranged condiments and coffee creamers on a diner countertop. While the romantically and professionally struggling twentysomethings that populate HBO’s Insecure make their share of pilgrimages to taco trucks, clubs, and even Coachella, it’s those tableaus of Los Angeles at its most quotidian that make the sprawling city feel as if it’s being viewed through a different lens. With the show’s third season recently wrapped up, cinematographer Ava Berkofsky spoke to Filmmaker about how she “makes L.A. feel like L.A.” […]
by Matt Mulcahey on Oct 10, 2018 -
In the Light of History: Rachel Morrison on Shooting Mudbound
With Rachel Morrison the first woman cinematographer nominated for a Best Cinematography Academy Award, we’re running today online from our current print issue David Leitner’s interview with her about shooting her nominated film, Dee Rees’s Mudbound. When Dee Rees’s Mudbound premiered at the 2017 Sundance Film Festival, the director was returning to the fest six years after her feature debut, Pariah, launched there. The same year also marked DP Rachel Morrison’s first feature to be included in the festival, Zal Batmanglij’s Sound of My Voice, and she returned the following year with Ryan Coogler’s Fruitvale Station; Mudbound is her eighth […]
by David Leitner on Jan 23, 2018 -
Watch: DP Roger Deakins Talks LUTs, Sicario and the ALEXA
In this interview conducted by ARRI reps at Cannes, the great DP Roger Deakins talks about his work on Sicario, his (equally fantastic-looking) second collaboration with Denis Villeneuve after Prisoners. This is a fairly technical conversation, as Deakins talks about shooting with an open gate on the ALEXA for the first time, why he prefers to minimize his work with LUTs and his approach to storyboarding.
by Filmmaker Staff on Jun 15, 2015 -
Digital Tableaux: Cinematographer Dick Pope on Mr. Turner
“Turner was progressive,” says cinematographer Dick Pope. “He was not a Luddite. He was very forward-looking. And if he was making the decision today, whether to shoot on film or digital, with all the tools and control of the palette [digital] offers, Mike and I felt that he would choose digital.” “Mike,” of course, is Mike Leigh, and “Turner” is J.M.W. Turner, the 19th-century painter of roiling seas and fiery vistas containing a near-religious quality of apocalypse. Together, Leigh and Pope have made Mr. Turner, a rare artist biopic that imbues within its visual strategies a sense of its subject’s […]
by Scott Macaulay on Oct 20, 2014 -
Watch: A Short Test of the Koji Color LUT Suite
For those interested in using a LUT (lookup table) to obtain a more filmic look, our friends at No Film School have drawn attention to Koji Color’s new suite, which attempts to preserve the appearances of six different 35mm film stocks. The program works with most NLE and post applications, and above we’ve got test footage shot by Paul Schefz. It has a strong look; whether it succeeds at preserving 35mm’s textures and colors exactly is obviously up for anybody who wants to debate that. For those convinced enough to buy, the No Film School link above will allow you […]
by Vadim Rizov on Oct 8, 2014
