The FilmLight Color Awards, which honor exceptional color grading internationally, has nominated Company 3 across four categories — Feature Film, Episodic TV, Commercial, and Music Video!

The Awards are organized by FilmLight (but are color corrector agnostic) in conjunction with EnergaCAMERIMAGE. They are supported by prominent international groups such as The American Society of Cinematographers (ASC), The French Society of Cinematographers (AFC), the Colorist Society International (CSI), the International Federation of Cinematographers (IMAGO), and the Polish Society of Cinematographers (PSC) among others.

Decisions are made by a panel of judges esteemed for their cinematography and color-grading work worldwide. Awards will be given during the world-renowned EnergaCAMERIMAGE cinematography festival held in Toruń, Poland in November.

Nominees:

Asteroid City

Theatrical Feature | Gareth Spensley

Senior Colorist Gareth Spensley worked closely with director Wes Anderson on this unusual 1950s-set comedy. Cinematographer Robert Yeoman used color and black and white negative stocks, which helped inform the period look which was finetuned in the grade. “If you shoot on film,” Spensley explains, “when we go for a high saturation look, it yields a distinctive feel. Film colors naturally saturate in a very different way to digital colors.”

Credits

• Color | Gareth Spensley
• Additional Color | Gareth Thomas
• Finishing Edit | Justin Eely
• Dailies | Doychin Margoevski
• Company 3, Production | Joanna Burt, Hannah Perkins
• Director | Wes Anderson
• DP | Robert D. Yeoman
• Editor | Barney Pilling
• Production Design | Adam Stockhausen

Barbie

Theatrical Feature | Yvan Lucas

Senior Colorist Yvan Lucas re-teamed with frequent collaborator cinematographer Rodrigo Prieto to realize director Greta Gerwig’s vision of the fantastic colorful world of Barbie Land. The overarching look was built into a show LUT conceived by Lucas and Prieto (which Gerwig characterized as bringing the “Techno Barbie” look) that rendered the imagery in the signature shades of red, pink, blue and others that are so tightly associated with this blockbuster movie.

Credits

• Color | Yvan Lucas
• Additional Color | Nick Metcalf, Alan Gordon
• Finishing Edit | Pat Kelleher
• Dailies | Tom Klane
• Editorial Services | Company 3
• Company 3, Production | Michael Maida, Gregory Caligiuri
• VFX | Framestore
• Director | Greta Gerwig
• DP | Rodrigo Prieto
• Editor | Nick Huoy
• Production Design | Sarah Greenwood

Winning Time: The Rise of the Lakers Dynasty

TV Series/Episodic | Walter Volpatto

Senior Colorist Walter Volpatto and DP Todd Banhazi performed extensive visual and technical research to design the multiple looks of this series throughout the season. “We sought to understand the path that film shot in the time period would have gone through,” he says of the look that recreates 8mm and 16mm amateur and professional photography and videotape formats from the era. “To emulate these looks we studied pristine 35mm and 16mm negative stocks, finding the ideal amount of ‘oldness’ to add in. We also added attributes including image fading, halation, gate weave, grain, and dust to further ‘age’ the image until we felt it was right.”

Credits

• Color | Walter Volpatto
• Finishing Edit | Mike Delegal
• Dailies | John St. Laurent
• Company 3, Production | Sydney Johnson, Lily Streiff, Bryce J Hodges
• Directors | Salli Richardson-Whitfield, Trey Edward Shults, Todd Banhazl, Tanya Hamilton
• DPs | Todd Banhazl, Darran Tiernan, Ricardo Diaz, John Matysiak
• Editors | Max Koepke, Felicia Mignon Livingston, Jeremy Weinstein
• Production Design | Richard Toyon

Zara Man “Spring/Summer 23”

Commercial | Tim Masick

To grade this striking fashion spot for the Zara collection, Senior Colorist Tim Masick leaned into the bold colors and striking contrast of Director Fabien Baron’s staging and cinematographer Phillipe Le Sourd’s photography of a pair of twins traversing a surreal landscape. “There are these beautiful night scenes against smoke lit through orange gels,” says Masick, who has worked with Baron for over 20 years. “I know what he likes, and he knows what I can do with the imagery to complement the look with bits of glow here and subtle adjustments to enhance the differences within the colors there. It’s always subtle — just enough so it still looks natural.”

Credits

• Color | Tim Masick
• Company 3, Producer | Ryan Moncrief
• Director | Fabien Baron
• DP | Phillipe Le Sourd
• Editor | William Town, Modern Post
• Prod Co. | PRODn, Seeker

Doja Cat “Attention”

Music Video | Joseph Bicknell

Senior Colorist Joseph Bicknell worked with frequent collaborators Director Tanu Muino and DP Nikita Kuzmenko in preproduction for this evocative clip. He built a show LUT, he explains, “designed to encompass the darker gothic pop look, with a lot of grit and texture, influenced by Fight Club,” he says, referring to the David Fincher cult favorite. “It’s high contrast and what I’d call ‘oily’ with solid, blocky colors. Everything we did was about working to hit that sweet spot between dark and gritty and glossy and poppy.”

• Color | Joseph Bicknell
• Producer | Cassidy Conway
• Director | Tanu Muiño
• DP | Nikita Kuzmenko
• Prod Co | UnderWonder Content
• Editor: Carlos Font Clos

For more information about the FilmLight Color Awards, or the full list of nominees, click here.