Jun 30, 2017

EFILM'sMitch Paulson Looks at All Eyez

Of all the important and successful films EFILM's Paulson has colored, the Tupac Shakur story All Eyez on Me , was among the most personally gratifying. Paulson, a suburban kid from Minnesota, isn’t someone you’d look at and think that he was that into hip-hop, but he's been a hardcore fan of the music, particularly Shakur's since the early '90s. "I grew up listening to Tupac, ever since his first album, 2pacalypse Now ” he says. “He was always my favorite, nobody else really compared to him.” 

Directed by celebrated music video director Benny Boom (who has worked with such top acts as Nicki Minaj, 50 Cent, P. Diddy and Snoop Dogg) and shot in an exciting fluid style by Peter Menzies, ACS, the film stars Demetrius Shipp, Jr. as the late rapper and explores his life from childhood to his untimely death.

Paulson worked with Menzies and Boom on looks that delicately suggest the story's different eras. "There are subtle changes that we did in each era of his life. It starts off grimy and dirtier when he’s in NY as a kid, all the way to bright, vibrant colors once he’s signed to Death Row records in LA,” Paulson says. The film incorporates archival footage to help present a powerful portrait of its subject. "We didn't want to go too far with that material. The look of the old tapes, probably a lot of it was VHS or 16mm, is part of the feel of the film. We just let them be closer to what they wanted to be and not force them into something else. The grittiness of some of the footage helped portray parts of his life, which weren’t all clean and perfect looking”

The project came to fruition in great part through the work of friends and the estate of Shakur, particularly former Death Row producer L.T. Hutton, which further elevated the overall experience for the colorist. "Being in the room with people who worked with Tupac and knew the guy personally," says Paulson, "was crazy. I'd almost say it was surreal at times. Definitely something I will never forget.” 


SPOTLIGHTS ARCHIVE

  • NOV 1, 2017 - Film Independent launches “Detail Oriented” with Mitch Paulson Q/A
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    OCT 25, 2017 - Joachim Zell Joins Cinematographers to Teach Filmmaking Master Class in Dubai
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    OCT 2, 2017 - Scaling the Color Challenges of The Mountain Between Us
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    SEP 27, 2017 - Congrats to Our Artists on Their HPA Nominations
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    SEP 20, 2017 - EFilm’s Tim Stipan Colors Provocative mother! at Company 3
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  • SEP 8, 2017 - Into the Shadows: Color on “It”
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    SEP 8, 2017 - EFilm at TIFF
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    AUG 23, 2017 - Water Colors
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    JUN 16, 2017 - Filmmakers Finish Project Involve Shorts at EFilm, Company 3
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    APR 10, 2017 - NATASHA LEONNET HIGHLIGHTS HIDDEN FIGURES
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  • MAR 17, 2017 - DELUXE'S EFILM HOSTS ASC MASTER CLASS EVENT
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    MAR 9, 2017 - EFILM Handles Color, Dailies for Multiple Oscar Winner, La La Land
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    FEB 23, 2017 - EFILM Colors Rogue One: A Star Wars Story
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    JAN 31, 2017 - EFILM Colors Sundance Films, Celebrates Indie Filmmaking
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    JAN 26, 2017 - EFILM’s Natasha Leonnet Colors Best Picture-Nominated La La Land and Hidden Figures
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  • JAN 13, 2017 - EFILM's Mitch Paulson Reteams with Jeff Nichols for Loving
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    JAN 12, 2017 - Dave Grove Promoted to SVP, Global Feature Sales
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    NOV 7, 2016 - Joachim "JZ" Zell Inducted into ASC
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    NOV 7, 2016 - Al Cleland Takes the Helm at EFILM
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    SEP 8, 2016 - EFILM Proudly Supports All of Our Filmmakers at the Toronto International Film Festival
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  • AUG 12, 2016 - EFILM Employs New VFX Workflow on Star Trek Beyond
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    APR 18, 2016 - EFilm's Weyron Henriques garners StudioDaily's top 50
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    FEB 3, 2016 - EFilm's The Big Short Garners Multiple Award Nominations and Wins
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    JAN 16, 2014 - Cinematographer Dean Semler, ASC, ACS Utilizes Company's Extensive Post Offerings for Grudge Match
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    JUN 26, 2013 - EFILM Leads the way in Imaging Science
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  • NOV 19, 2012 - Russell Carpenter Photo Exhibition
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    SEP 30, 2012 - Andrew Francis Discusses His Work on "Looper"
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    MAR 31, 2012 - Mitch Paulson on the Creative Challenges of "John Carter"
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    JAN 31, 2012 - EFILM Develops ARRIRAW Workflow for "Extremely Loud and Incredibly Close"
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