ethan.color

#Producer Todd Aronauer (@taronauer) takes us #behindthescenes of Season 5 episode of @theshadowsfx “Local News,” detailing his collaboration with #LightIron Los Angeles senior #colorist Ethan Schwartz (@ethan.color). “In season 5, we had the episode titled ‘Local News,’ where a local news team is reporting on a water main break right outside our vampires’ house. The directive for the look of that episode was to be as accurate as possible with the look and style of a real local news package for those scenes. We didn't want to digitally manufacture that look in post, because you can tell it’s an effect trying to mimic the look, which we didn’t like. So it became a lot of research into cameras, lenses, frame rates and conversion specs. We spoke with production companies that regularly shoot the local news format, and we also employed the services of a company that actually creates the lower-thirds and full graphics packages for news affiliates and networks to give it that real, authentic look. Our final colorist at Light Iron, Ethan Schwartz, has been on the show since the beginning and has been absolutely great to collaborate with. He’s a great source of knowledge for how the pipeline might impact the final look. He’s somebody I contact often, as well as our DI producer, Christopher Riggs. Along with our dailies team at Urban Post in Toronto, we were able to throw questions to each other, and hearing their questions off of my questions helps to go back to each of our teams and say, ‘Here are the parameters for our sandbox. We’ll have more leeway to play and be creative on the shoot day if we stay within this workflow structure.’ It’s always very collaborative with Light Iron, and I absolutely value and appreciate everything they do for the show.” Both Todd and #LightIron have continued their collaboration on Season 6 of #WWDITS, which has begun airing/streaming!

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

#LightIron Los Angeles senior #colorist Ethan Schwartz (@ethan.color) takes us #behindthescenes of @bmfstarz season 3, with #cinematography by Timothy A. Burton. “Season 3 brings BMF to some more cities as they grow their empire. As the story expands, we worked to find different looks for each of these locations. Their home in Detroit has always leaned quite cool and Atlanta is pushed warm with rich greens. When BMF travels to Miami, we wanted a stronger contrast, sun-soaked warmth, and vibrant hues all while staying within the world of the show. We are able to achieve this cohesion with the varying degrees of texture that we build into the look (grain, halation, diffusion, etc.)”

"The Bullfighter" (2023) Producers: @steven_zhang_wuliang, Colt Kozal Director: Giselle Bonilla (@locanilla) DoP: Sharon Pulwer (@sharonpulwer) Editor: Alejandra Armijo (@alearmiijo) Production Designer: Eleanora Figueroa-Steiner (@efigstein) Color: 🙌 @americanfilminstitute @panavisionofficial @thebullfighter_afithesis Graded on #baselight @filmlight_

"The Bullfighter" (2023) Producers: @steven_zhang_wuliang, Colt Kozal Director: Giselle Bonilla (@locanilla) DoP: Sharon Pulwer (@sharonpulwer) Editor: Alejandra Armijo (@alearmiijo) Production Designer: Eleanora Figueroa-Steiner (@efigstein) Color: 🙌 @americanfilminstitute @panavisionofficial @thebullfighter_afithesis Graded on #baselight @filmlight_

"The Bullfighter" (2023) - Loved every minute working with the talented #director Giselle Bonilla and #directorofphotography Sharon Pulwer Producers: @steven_zhang_wuliang, Colt Kozal Director: Giselle Bonilla (@locanilla) DoP: Sharon Pulwer (@sharonpulwer) Editor: Alejandra Armijo (@alearmiijo) Production Designer: Eleanora Figueroa-Steiner (@efigstein) Color: 🙌 @americanfilminstitute @panavisionofficial @thebullfighter_afithesis Graded on #baselight @filmlight_

“I was thrilled when [DOP] Danny came to me wanting to build a cross-country Americana look. We wanted to create a Kodak Vision film emulation, but with a softer contrast curve. The black level is lifted and flashed a little, but still retains detail and depth of the image. The Primo lenses gave us this amazing soft texture that was lovely to lean into. We added several more texture elements in the DI, and at times it almost feels like watching an oil painting.” #LightIron Los Angeles senior #colorist Ethan Schwartz (@ethan.color) talks @adamthefirstfilm, #cinematography by Daniel Brothers (@dannythedp).

‘The Anthrax Attacks’ - (Netflix) Director | Dan Krauss DP | @alexanderalexandrov “Days after 9/11, letters containing fatal anthrax spores spark panic and tragedy in the US. This documentary follows the subsequent FBI investigation.”

Grading on Baselight was essential for achieving this look. I worked in @filmlight_ T-Log/E-Gamut with Truelight CAM v2 DRT for the entire feature. That in combination with their powerful secondary toolset like Colour CrossTalk, I was able to dial in clean yet saturated colors. Also the magic that is Base Grade really set grading this show over the edge. "Crush" Streaming now on @hulu Dir: @sammicohen DP: @mattwisedp DI Finishing: @lightironpost #iykyk #postproduction #baselight #filmmaking #filmlight #lightiron #color #colorgrading #crush #hulu

@lightironpost "The topline description [for the desired look to Ethan Schwartz] was always “a naturalistic period look.” It was all about finding which avenues to push towards a '70s look, and which to leave be, to end up with a balanced result. Ethan brought a lot of ideas and a new eye to the images and really helped push those concepts further. We were really happy with the dailies and the quality of DXL2’s FILM Look, which already felt very much like 35mm film. The color science is fantastic. With Ethan, we found subtle ways to carry and push that look, particularly in the hues, which we subtly shifted towards a slightly more Kodachrome color palette. We vignetted some shots a bit more, particularly the zoom shots since those lenses actually had a more even field than the primes. We added grain as well to further break the digital images a bit and add some life to them. The rest was about finding ways to use color to enhance the scenes and tell the story. There is a sequence where we see the characters at a movie theater in the '70s and then again in the '80s, having grown up, and the grade really helped enhance the different looks and feel for those two time periods. We lit the first scene with a late afternoon sun effect, allowing us to push the gold and orange tones for the '70s, and the second one at night, which allowed us to go for blues and reds, a more neon look for the '80s. The whole episode is told in flashback, and that look is contrasted in the scenes of Sasha in present time (narrating the story in a darkened theater), which were shot with a regular Monstro sensor. For those images we kept a more modern and crisp feel, with a wider color gamut that feels more contemporary." Cinematographer @martimvian goes in-depth on the process behind coloring Voir episode "Jaws." Color services by Light Iron Senior Colorist Ethan Schwartz. Serviced by #Panavision Woodland Hills and #LightIron Los Angeles.

@lightironpost "The DP Jesse Feldman and I discussed the look before they started production. He was shooting Sony Venice and wanted a LUT for the shoot. For the general direction of the look, Jesse wanted it to be 'a badass action movie from the ’90s but with updated lighting/camera movement and aesthetics in general.' We knew that there were going to be explosions and heavy atmosphere thorought out the shoot, so we had to create a look that kept the blacks healthy while also maintaining the highlights. The entire show was also shot on Anamorphic which really helped MacGruber feel like a very serious cinematic action film. Jesse didn’t want a very vibrant image, but still something that would stand out. So I utilized a strong contrast throughout to help give the image a snap, while then using fairly neutral tones to ground everything. We would then push greens and cyans in some scenes to give us further separation. I had a blast helping Jesse and, Jorma, and John craft the MacGruber look." #LightIron Senior Colorist @ethan.color on crafting the '90s action aesthetics of MacGruber with cinematographer @jessemfeldman and showrunners @jormataccone & John Solomon.

Very excited to start this page! Stay tuned for some amazing projects!! Follow @lightironpost and @panavisionofficial for more great content #filmmaking #colorgrading #baselight #davinciresolve