Light Iron, A Panavision Company

#LightIron, a #Panavision company, is excited to announce that Andrew Geary has joined the company as a Senior #Colorist. Based out of Light Iron’s New York facility, Geary’s addition further strengthens the company’s world-class team of final colorists. Click here to read more: https://pvlink.net/48PsqVq

Presented by the Hollywood Professional Association, the HPA Awards recognize creative achievement, outstanding artistry and engineering excellence throughout the post-production industry. The Panavision group is proud to announce that #LightIron senior #colorist Elodie Ichter has been nominated in the category of Outstanding Color Grading – Live Action Episode or Non-Theatrical Feature, for her work on the Shōgun episode “Anjin,” photographed by Christopher Ross, BSC. “I spent a lot of time with the directors, DPs and other key collaborators getting into the details of what we wanted for the show in general,” says Ichter, who graded the first four episodes. She worked on the series while at post house The Mill, just before joining Light Iron. “The series is set in the 17th century, so the palette is muted, but it was important to have differentiation within those tones. The first episode, ‘Anjin,’ required the most attention because it sets the look for the entire series. We spent a lot of time getting it right. It was a full-on creation, and I felt truly valued.”

John is a man of focus, commitment, sheer will...and so is #LightIron supervising #colorist Ian Vertovec (although we've never seen him kill three men in a bar with a pencil). Happy #throwbackthursday and ten year anniversary of #JohnWick! Released on this day in 2014 and shot by #cinematographer Jonathan Sela ASC, #johnwick was #colorgraded by Light Iron supervising colorist Ian Vertovec, and colorist Paul Sage. What's your favorite John Wick quote? Let us know in the comments ?? ??

Meet the #dreamteam behind 'The Maker' – the wondrous short film from #director & Applications Product Manager at #LightIron Keenan Mock! With final color by Light Iron Supervising #Colorist Corinne Bogdanowicz and #cinematography by Luke Dejoras, 'The Maker' was shot with #Panavision #PrimoPrimes optics. "From my perspective on the look," says Keenan, "as the story took place entirely in a single room it was very important that each scene be lit and colored differently, so the audience understood the shifts in time, especially as we cut forward and back. Other than that, I also wanted the piece to feel “real,” but not inauthentically so, as (ironically) seems to be so easy to do these days with harsh lighting, grain, and contrast. So, finding that balance was crucial." Corinne told us: "The color of The Maker is very natural and filmic. While it all takes place in one room, we had to accentuate the different times that the story takes place. Warmth, cool and light differences were all used with the photography and color to make those differences stand out. We also created a different look for the portal, where the inside of the portal would feel very different than the normal world. It's a beautiful story, and I was happy to help create the mood and tone to bring it all together." "Considering the thematic ups and downs in "The Maker", my focus was on crafting contrasting visuals to mirror the emotional state of the characters," said Luke. "This meant being able to utilize both hard & soft light, warm & cool tones, and light & shadow as needed. In terms of lensing, the Panavision Primos were just the right tool for us. They provided the perfect balance of sharpness & character that we wanted, without drawing attention away from the story itself."

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!