International Courant
The candy-colored look of Barbie delivered colorist Yvan Lucas of Firm 3 the Filmlight Shade Award for a theatrical characteristic.
The third annual awards — organized by FilmLight, the maker of the Baselight coloration grading system, in collaboration with Camerimage — have been introduced Sunday on the EnergaCamerimage cinematography movie pageant in Toruń, Poland. From roughly 400 entries, honorees have been chosen by a jury chaired by Oscar-nominated cinematographer Lawrence Sher (Joker, Joker: Folie à Deux), who introduced the awards.
Of his award-winning work on Barbie, which was directed by Greta Greig and lensed by cinematographer Rodrigo Prieto, Lucas tells The Hollywood Reporter, “Rodrigo Prieto and I each wish to work collectively on the general look of a movie earlier than manufacturing begins. Creating LUTs (Look Up Tables) that outline the best way coloration and distinction shall be affected helps Rodrigo, the director and the division heads all work in direction of a standard aim.
“For almost all of Barbie, which means all scenes set in Barbie Land, we created a LUT that mixed an total movie emulation, a three-strip Technicolor look and particular methods of decoding hues similar to crimson, pink and blue in a method that pushes say into the palette everybody now acknowledges from the movie,” he explains.
Extra winners included Dirk Meier at D-Facto Movement for The Pimp: No F***ing Fairytale (Luden) season one (cinematographer Oskar Dahlsbakken), which topped the TV collection/episodic class; Tim Masick at Firm 3 for Zara Man, ‘SS23’ (cinematographer Philippe Le Sourd), within the business class; freelance colorist Marina Starke for Mayyas ‘Horra’ (cinematography by Shadi Chaaban), which topped the music video class; and freelance colorist Cem Ozkilicci for Possession (cinematographer Oskar Dahlsbakken), within the Highlight class for low-budget options.
Accepting her award, Starke, who had two further nominations, obtained applause when she stated she hoped to encourage extra range in her area. Meier urged extra colorists to attend Camerimage and “strengthen the collaboration between cinematographers and colorists much more.”
“Representing our incredible jury, I would like to congratulate the winners of this 12 months’s FilmLight Shade Awards,” Sher stated. “These diversely proficient artists – and the inspiring work they helped craft – are a testomony to the important significance of the colorist within the artwork of filmmaking. It is nice to see these artists come from throughout the globe – proving that good work is not restricted to very large budgets or massive retailers, however out there to everybody with a great eye and refined expertise.”
The American Society of Cinematographers and the British Society of Cinematographers are among the many organizations that help the Shade Awards. “Colorists are nice collaborators … Our closest relationship is with our colorist,” stated cinematographer Stephen Lighthill, a member of the jury who can be the previous president of the ASC. “We’re comfortable on the ASC to proceed to contribute to this occasion.”
