British Cinematographer’s latest Set to Post feature delves into the transformative post-production work behind films like Paddington in Peru, Wicked, and Joker: Folie à Deux. The article highlights the vital role of color grading in shaping a film’s final visual narrative, showcasing how raw footage evolves into the richly detailed worlds we see on screen. Among the colorists celebrated for their artistry are Company 3’s Senior Colorists Jean-Clément Soret and Jill Bogdanowicz, whose contributions have brought these stories to life.

In Paddington in Peru, Soret worked closely with Framestore’s VFX team to create the dense, vibrant Amazon rainforest where much of the story unfolds. Using Baselight and external mattes, he balanced intricate CGI elements with live-action footage to ensure seamless visual cohesion. “We used a sheer number of external mattes provided by Framestore to intervene on different layers of the image, which allowed us to work through the challenges of unpredictable weather and create a consistent visual tone,” Soret shared.

For Wicked, Bogdanowicz’s expertise was instrumental in blending the film’s fantastical visuals with its profoundly emotional narrative. Working alongside cinematographer Alice Brooks ASC and VFX supervisor Pablo Hellman, she fine-tuned every frame to harmonize the vibrant, magical landscapes of Oz with the characters’ journeys. Reflecting on the emotional depth of the project, Bogdanowicz said, “You really get to know these characters,” she says. “You see their relationship develop throughout the movie, and I related to a lot of things that happen from a female perspective, and I think there will be a lot of women and girls who feel the same way.”

Bogdanowicz also lent her skills to Joker: Folie à Deux, collaborating with director Todd Phillips and cinematographer Lawrence Sher ASC to build on the aesthetic established in the first film. By developing a custom LUT, she maintained the gritty, vintage look while introducing rich, saturated hues for the film’s musical sequences. “Color is crucial for emotional storytelling,” she explained, “and for Folie à Deux, we needed to expand the palette while staying true to the world established in the first film.”

Through its Set to Post feature, British Cinematographer offers an illuminating glimpse into the work of Company 3’s colorists, celebrating the artistry and technical precision that elevate these cinematic experiences. Read the full article here.