There are several different ways for a DP to work with LUTs. We work hard to have a formula that works while on location and all the way to the final grade.” As Blauvelt explains, “It’s also really great having the chance to create custom LUTs with our final grade colorist. For Emma, Goldcrest’s Rob Pizzey was the DI colorist, so he was also involved in creating the color pipeline and LUTs with Blauvelt and DIT Robinson. The final DI colorist is often part of the mix too. “Usually during prep, we will do an enormous amount of testing and come up with the recipe that we decide on for the shoot.” “I really enjoy my working relationships with DITs they are the people I rely on to inform me on the rules we’ve put in place on any particular shoot,” says Blauvelt.
Designing the look of a production is a collaborative process that often begins in preproduction. Mission’s Jacob Robinson was the DIT.ĭITs have become a more and more important part of the camera crew and often build close working relationships with DPs.
Blauvelt hadn’t worked on a feature film in the UK before but was fortunate enough to team up with Mission, a UK-based DIT and digital services company, who assisted in setting up a workflow and a color pipeline that ensured that the director and DP’s vision was communicated to everyone. Principal photography began in March 2019. Of course, we didn’t just test cameras - Autumn had given me many references to use as our guide in finding the unique look of Emma, so we tested many different lenses, cameras, filters, lights and lookup tables.” It was also something I would think about for scope and scale, for which Emma provided the environments in the form of castles and the English countryside. “I remember making a note about the softness and way it treated skin. “We looked at many different cameras to find our aesthetic,” Blauvelt explains. Blauvelt had done some tests with it a year or so ago for a film he shot with Gus Van Sant, called Don’t Worry, He Won’t Get Far on Foot, so he was familiar with the camera. When it came time to start on her directorial debut, de Wilde reached out, knowing that he could help her bring her vision to the screen.Įmma was shot with the ARRI Alexa LF using ARRI Signature Prime lenses. He then shot some 16mm footage that was projected behind Elliott on his tour, and the collaborators became friends. Blauvelt and de Wilde met in 2000 when she directed Elliott Smith’s Son of Sam music video.
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