A before-and-after comparison: For this scene, Ricquebourg made ample use of Tobacco filtration (pictured here). Colorist Yov Moor removed much of the filter's effect in post, to achieve the scene's purple-andorange palette in the final grade (pictured below). More detail on this color process can be found at theasc.com. important to the crew as it was to the actors. Steadicam operator Florian Berthellot was tasked with weaving in and out of the kitchen's hotspots of activity - panning over crayfish as they're dropped into a pot to become consommé; pushing in on the straining of butter and the flaming of wine; and tracking a loin of veal as it's periodically pushed in and pulled out of the oven until roasted to perfection. Ricquebourg notes that he and Hùng settled on this shooting scheme after spending two weeks of prep time at the Hôtel Balzac's restaurant, run by famed French chef Pierre Gagnaire - who served as the production's " gastronomic manager " and makes a brief cameo as a chef - to closely study its world-class cooks in their element. " When I first read the script with Hùng, we planned for the first cooking scene to have very contemplative shots - wides, close-ups, " he says. " But when we went to Pierre's restaurant, I brought my camera to shoot how they preppedhttp://www.theasc.com