Light Iron, A Panavision Company

Panavision & Light Iron are so proud to honor this year's talented winners at the 2024 Emerging Cinematographer Awards (ECA)! Congratulations to Allen Ho, Adam Carboni, Nick Mahar, Andrew Trost, Jessica Hershatter, Dylan Trivette, Matthew Halla, Dominic Bartolone, and Rodrigo Prieto, ASC, AMC 🎥

Happy #waybackwednesday to #OurFlagMeansDeath and insight on #finalcolor from #LightIron Los Angeles supervising #colorist Corinne Bogdanowicz. "The look of the show is very filmic, with a softer contrast and warm undertones. There is a lot of sky and water visible, so we took care to make sure the blues were not too vibrant or distracting. Much of the series takes place on pirate ships, so we had fun making each scene feel a little unique while maintaining an overall vibe for the show. I worked with the DPs ahead of the shoot while they were doing testing with LED walls. We made sure to view the test footage in 4K HDR so we would be able to see any issues or artifacts that might come up. Their DIT made an SDR LUT to use while shooting, and I made a corresponding HDR LUT to use for HDR review of the footage. The main grade was done in HDR with DP Mike Berlucchi supervising. We worked to integrate the footage with the LED walls with the VFX that were being done. We had some fun with parts of the show that could fall away from reality a bit. Some of my favorites were the flashbacks that differed with saturation, a very red nightmare scene, and a green fog. The show is a brilliantly shot collaboration, with a beautiful look that enhances the characters and locations." Dailies & final color supported by #LightIron Los Angeles. #Cinematography by Mike Berlucchi and Cynthia Pusheck. Showrunner: David Jenkins. 🏳️🏴☠️

“As a whole, DP Cristina Dunlap wanted to grade the film in a natural & elegant way, keeping it relatable to the audience. The film is an emotional journey of self-discovery and where Dakota's character is along that journey informs the tone of the scene. The more romantic scenes are warmer and cozy, inviting. By contrast, other scenes are intentionally graded more cold to highlight her loneliness. I was so proud to work on this film because of the way it deals with themes of sexual identity and self-discovery with humor and care; it will really speak to audiences.” #LightIron Colorist Katie Jordan on collaborating with #DOP Cristina Dunlap to track the lead character's emotions through the grade in #AmIOk, serviced by #LightIron Los Angeles and #Panavision Woodland Hills.

"The Muppets...never had a bad day working on the Muppets!" says #LightIron Los Angeles supervising #colorist Corinne Bogdanowicz about her first collab with #cinematographer Don Burgess ASC. Which is your favorite muppet? Let us know in the comments!

We joined #LightIron senior colorist Ethan Schwartz in the color suite at Light Iron Los Angeles for some experiments in look creation 🔥 .

Today we're all smiles with #cinematographer Ole Birkeland BSC and #LightIron supervising #colorist Ian Vertovec at Light Iron Los Angeles. What's your favorite part of the #postproduction process? Let us know in the comments!

You asked and we answered! Welcome back to the Grading Glossary with #LightIron, where we're lifting the shadows on the "suite slang" of the #colorgrading process, illuminating terminology that can help you make the most of your next #postproduction adventure. Today we're our most asked colorist question in defining "Organic" with Light Iron Los Angeles supervising #colorist Corinne Bogdanowicz: Organic (adj.): Authentic with true-to-life colors that are not overly enhanced; can refer to a creamy look with lower contrast in the midtowns. In a sentence: "The look of Shrinking is organic and soft. You can really relate to the characters with the realistic look. The backgrounds are softer in contrast, which allows more attention to go to the main characters."

“I had a preliminary phone call with cinematographer Cristina Dunlap to talk about the overall look and certain scenes where she had specific ideas. As a whole, she wanted to grade the film in a natural, elegant way that would keep it relatable to the audience. The movie depicts an emotional journey of self-discovery, and the tone of any given scene is informed by where Dakota Johnson’s character is on that journey at that moment. The more romantic scenes are warmer, cozier and inviting; by contrast, other scenes were graded cooler to highlight her loneliness.” #LightIron New York senior colorist Katie Jordan takes us inside the grade for the feature #AmIOKmovie. Co-directed by Stephanie Allynne and Tig Notaro, the movie premiered at the 2022 #sundancefilmfestival and is now streaming on Max. “I worked by myself first to get familiar with the footage, balance the scenes, and start to develop a look based on our call. Then Cristina came in and we worked together to dial-in the look before presenting it to co-director Stephanie Allynne, who was really happy with it. I was so proud to work on this film — the way it deals with themes of sexual identity and self-discovery with humor and care will really speak to audiences."

“We collaborated both remotely and with Bryce in the grading theater with me at #LightIron Los Angeles,” says Light Iron supervising colorist Ian Vertovec of working with lead cinematographer Bryce Fortner on the FX limited series #ClippedFX. “Bryce wanted a warm look that emphasized the Clippers’ blue and red team colors.” Fortner shot four of the show’s six episodes, and Jonathan Furmanski was behind the camera for the other two. Light Iron provided dailies throughout principal photography as well as during post, and in addition to color & finishing, the company provided VFX services that included tracking, rotoscoping, paint, and multi-layered compositing.

“I’d worked with DP Itai Ne’eman on a previous project, the series High Desert.” #LightIron supervising colorist Ian Vertovec reflects on re-teaming with the cinematographer for Season 2 of the #primevideo series #OuterRange. Supported by Light Iron for dailies, VFX, and color & finishing, #Panavision Albuquerque also provided the camera and lens package, including #Panaspeed Spherical Primes. “There are three time periods this season, and Itai wanted to create a different look for each. Modern day is like a normal western, with warm highlights and shadows and neutral mids. The 1980's has kind of a skip-bleach look, with strong cyan and silvery contrast. Finally, the 1800's has a very duo-tone warm look, with almost a two-strip appearance.”