Grade School: How to Work w/ Film LUTs with Jill Bogdanowicz
Company 3 Colorist Jill Bogdanowicz is joining me live this week for Grade School! Jill is the colorist behind Joker, Grand Budapest Hotel, & John Wick to name a very small few of the notable work she’s done in her career thus far.
This week, we’ll be talking to Jill about the decision-making that’s made underneath the LUTs of projects like Joker. While there’s a lot of attention to the show’s LUT, what’s less talked about is the important decisions made underneath that look that lead to better or worse outcomes — an important discussion. An amazing LUT is a treasure to have, but what you do underneath it is what really makes the difference.
0:00 Introduction
5:08 how do you approach creative grading, those shot by shot decisions – what do you think about, what do you prioritize once you have that (strong film LUT) look in place?
12:55 Shaping light underneath a strong film LUT, and benefits of getting involved early in production
17:35 Was Joker lit by meter or monitor on set?
18:35 When working on a project, how much of the look is done by you (Jill), and how important is your color science team in production?
22:18 With a lot of your other work, you aren’t doing a strict emulation, but there is a filmic palette at play. How do you do that, or how do you go about thinking about making that?
27:14 Do you ever feel restricted by grading under a LUT or film emulation?
29:14 How can you go about retaining details in the shadows without losing contrast in the bottom end or the entire image?
33:04 What tools do you use to add texture without making the image feel over-processed? What process do you like using when considering texture?
36:35 How important is it to know any tool you’re using on a granular level?
39:44 How much should younger colorists care about film emulation in the future? What is your take on how color grading preferences will evolve moving forward?
43:34 The expanding definition of “filmic”
44:25 Breaking away from a filmic palette
48:04 Do you create LUTs for an HDR workflow?
49:20 Do you grade a project under a single LUT, or do you have different ones based on a scene?
51:11 What training should we go for if we want to work at a company like Company3?
52:50 Are shows getting too dark, or do most people have bad TVs?
56:05 What’s your best hands-on advice for beginning to work under a film LUT?
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