Sep 30, 2012

Andrew Francis Discusses His Work on "Looper"

I had a tremendous experience working with the filmmakers of "Looper". Steve Yedlin shot the film beautifully. In this age of digital capture, it was a wonderful opportunity to color perfectly exposed 35mm film, which was Kodak in this case. The brief from cinematographer was to use as few tools as possible to achieve our looks and for the most part restrict ourselves to RGB off sets. Everybody involved wanted this to feel as if it went through a photo chemical finish. With this, I was mindful not to increase the grain structure by stretching the signal too far and to keep it consistent from start to finish. Small curve adjustments and the odd shape here and there were used over pulling keys. When we got to the tweaking stage, they did play a part, but used sparingly.

I worked closely with our Image Science department and the team produced a few de-contrast LUT's to varying degrees to soften off the image as and when was necessary. This worked terrifically well on our 6K scans to 2K, as it enabled us to really expose the latitude of the film in the highest portion of the negative, retaining the details, where possible, through windows and in light sources.

Andrew Francis is now a colorist with Company 3 New York, a Deluxe sister company.


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