ianvertovec

Congratulations to all our 2024 nominees! Colourist: Ian Vertovec - @ianvertovec Category: TV Series / Episodic Project: Griselda (Season 1) #FilmLightColourAwards2024 #FilmLightColourAwards #Colourist #Colorist #Cinematography #ColourGrading #ColorGrading #PostProduction

John is a man of focus, commitment, sheer will...and so is #LightIron supervising #colorist @ianvertovec (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 (@selajon), @johnwickmovie 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 🐶 💔

“We collaborated both remotely and with Bryce in the grading theater with me at #LightIron Los Angeles,” says Light Iron supervising colorist @IanVertovec of working with lead cinematographer @brycefortner on the @fxnetworks limited series #ClippedFX. “Bryce wanted a warm look that emphasized the Clippers’ blue and red team colors.” Fortner shot four of the show’s six episodes, and Jonathan Furmanski was behind the camera for the other two. Light Iron provided dailies throughout principal photography as well as during post, and in addition to color & finishing, the company provided VFX services that included tracking, rotoscoping, paint, and multi-layered compositing.

“I’d worked with DP Itai Ne’eman (@ineeman) on a previous project, the series High Desert.” #LightIron supervising colorist @IanVertovec reflects on re-teaming with the cinematographer for Season 2 of the @primevideo series #OuterRange. Supported by Light Iron for dailies, VFX, and color & finishing, #Panavision Albuquerque also provided the camera and lens package, including #Panaspeed Spherical Primes. “There are three time periods this season, and Itai wanted to create a different look for each. Modern day is like a normal western, with warm highlights and shadows and neutral mids. The 1980’s has kind of a skip-bleach look, with strong cyan and silvery contrast. Finally, the 1800’s has a very duo-tone warm look, with almost a two-strip appearance.”

The look of Griselda is a 70s polaroid color rendering with an emphasis on texture. Green-Gold, Cyan, and a Burnt Red were key elements of the pallet to emphasize this rich and opulent crime thriller. Armando brought in actual polaroids he shot on the location scout, and we build the show lut based on those references. This process really pushed us to be bolder with the amount of green we added to the shadows, as well as pronounced halation and grain. This is one of the first projects where we used a .blg workflow using Daylight for dailies. Using .blg instead of luts and .cdls allowed us to have our defocus, halation, and grain applied to dailies and fully supported through vfx! Directed by Andrés Baiz Cinematography by Armando Salas ASC @cinesalas Additional Color by Ethan Schwartz @ethan.color Dailies Color by Sam Derouen @sam.derouen @panavisionofficial @filmlight_ #lightiron #colorist #colorgrading

“Lessons in Chemistry’s central figure, Elizabeth Zott, has a much easier time connecting with her true passions, scientific research and cooking, than she does with the people in her life. Through cooking for other people, she starts to build relationships. Cinematographers Zack Galler and Jason Oldak, wanted to maintain a nostalgic, yet immersive atmosphere to bring the story to life. When trying to visualize nostalgia, a colorist might select a film emulation or another color appearance model that provides a large amount of false color reproduction. This can have creatively beneficial effects such as visualizing a much more impressionistic interpretation of color, creating a more overall cinematic or dreamlike effect. However, Elizabeth’s connection to the people around her is through food, so through food, we as the audience understand Elizabeth. Therefore it is crucial that the color reproduction of the food she prepares has enough correlation to human vision as to match our own sense of what those foods look like in real life. I used the Truelight Color Appearance Model with the ACES look profile to match human vision as much as possible, especially in the scenes where Elizabeth prepares food. I then softly blended in an Agfa film emulation to create a more nostalgic color rendering and harmonize the warm tones. Also, I shifted the project to D55 and relied more on the warmer white point to communicate the mid-century aesthetic. Lastly, for the flashback scenes of Elizabeth and Calvin as their younger selves, I pushed the film emulation blend ever further.” #LightIron Los Angeles supervising #colorist @IanVertovec on #colorgrading Lessons in Chemistry, shot by #cinematographers Zachary Galler (@zachary_galler) and Jason Oldak (@salted_lightly). Lessons in Chemistry was recently nominated for two 2024 #GoldenGlobes, one of which is for Best Television Limited Series, Anthology Series, or Motion Picture Made for Television.

We did it!!! #Repost from @nwrefn ... Mission accomplished ♥️ #TOTDY, available on Prime Video June 14. #bynwr

Uncle Drew 🎬 Charles Stone III 🎥 Karsten Gopinath (Crash) @crashkg ... For the DI of last summer’s “Uncle Drew” we created a digital partial bleach bypass look.  Bleach bypass, or silver retention, was a photochemical lab process where the bleach bath was skipped and the silver is retained on the emulsion along with the color dyes.  The result is essentially a black and white image over your color image. On “Uncle Drew” we originally created a much harsher bleach bypass look, then dialed it way back to create a clean, poppy look.  We also maintained strong saturation which you would not be able to get with a photochemical process.  In these pics you can still see the inky blacks and crips whites of our overlayed BW. ... #UncleDrew #kyrieirving #shaq #lilrelhowery #chriswebber #reggiemiller #naterobinson #tiffanyhaddish #nickkroll

#Repost from @brettsbo ... Unicorn Store out today!!!!! ... 🎬 @brielarson 🎥 @brettsbo @netflix @lightironpost @panavisionofficial. #gseriesanamorphics #arrialexa 🦄 #unicornstore

#Repost from @nwrefn ... Hey! Ho! Let’s go the first trailer for TOO OLD TO DIE YOUNG. 🔻👁❤️ Let’s all tune in on Prime Video June 14. 😉 @totdytv #bynwr ... Too Old to Die Young 🎬 Nicolas Winding Refn 🎥 Darius Khondji 🎥 Diego García ... The grading here is exaggerated at all times to illustrate the existential journey through an immoral world.

The OA part 2 Dir: Zal Batmanglij @z_al Dp: Steven Meizler Created by @britmarling & @z_al . For Dimension 2, Zal and Steven wanted to create an old-fashioned west coast noir look.  I took a standard 2383 film emulation and heavily modified it with RGB curves and a matrix.  We mostly emphasised the color red, as red was a central theme in the production design as well.  Then I inversed the transform into scene-referred space so we cold create multiple masters including Dolby Vision HDR.  This reddish-noir look contrasts quite nicely when intercut with Dimension 1’s lo con lavender normcore look. . D1 chapters directed by Andre Haigh and photographed by Magnus Nordenhof Jønck. Chapter 7 directed by Anna Rose Holmer. . #theoa

Gone Girl Dir: David Fincher Dp: Jeff Cronenweth . Suburban life is portrayed a little more neutral at first. As the story gets a little more twisted, the white balance starts drifting. . #gonegirl #davidfincher #benaffleck #rosamundpike #gillianflynn