American Cinematographer - April 2021 - 32
SITCOM LIMBO
Shakman, Olsen and Bettany at work.
provided from fixtures that were not rigged, and more light control was
introduced to create contrast and areas of shadow. "
Episode 2 ( " Don't Touch That Dial " ) follows Wanda and Vision as they
prepare a magic act for a town talent show in a bid to fit in with the
community. It was also shot for black-and-white, but with a one-camera
approach and four-wall sets in the style of Bewitched (which transitioned
Blue Tones
The crew took its lead from The Dick Van
Dyke Show in emphasizing blue tones in the
set design for this black-and-white section
of the series. Says Hall, " The decision to
paint the set in hues of cool blue-green, in
contrast to the warm skin tones, enabled me
to simulate a characteristic evident in some
to color in its third season). Shakman describes the lighting difference
between Dick Van Dyke and Bewitched as " dramatic, " especially since Bewitched star Elizabeth Montgomery was married to series producer and
director William Asher, " and he made sure she looked awesome in every
shot. Asher did not spare any time on her close-ups - they're gorgeously lit, like Garbo's. So we made sure we were doing that, too, using a lot
black-and-white film stock - its increased
sensitivity to red over blue. This color separation allowed me to apply custom matrices
to the RGB image at the digital-intermediate
stage, and therefore to enhance the luminance or shift the tonal value of the skin tones
in relation to their backgrounds. By using
this process, I achieved greater flexibility in
rendering a balanced grayscale with a full
range of midtones - one that I could subtly
manipulate. "
WandaVision's final color grade was
performed with colorist Matt Watson at
Marvel's new facility, located on the Walt
Disney Studios lot in Burbank, Calif.
32 / APRIL 2021
p.24-35 Wandavision V5 DONE.indd 32
3/9/21 1:03 PM
American Cinematographer - April 2021
Table of Contents for the Digital Edition of American Cinematographer - April 2021
Contents
American Cinematographer - April 2021 - Cover1
American Cinematographer - April 2021 - Cover2
American Cinematographer - April 2021 - 1
American Cinematographer - April 2021 - Contents
American Cinematographer - April 2021 - 3
American Cinematographer - April 2021 - 4
American Cinematographer - April 2021 - 5
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American Cinematographer - April 2021 - 27
American Cinematographer - April 2021 - 28
American Cinematographer - April 2021 - 28a
American Cinematographer - April 2021 - 28b
American Cinematographer - April 2021 - 29
American Cinematographer - April 2021 - 30
American Cinematographer - April 2021 - 30a
American Cinematographer - April 2021 - 30b
American Cinematographer - April 2021 - 31
American Cinematographer - April 2021 - 32
American Cinematographer - April 2021 - 33
American Cinematographer - April 2021 - 34
American Cinematographer - April 2021 - 35
American Cinematographer - April 2021 - 36
American Cinematographer - April 2021 - 37
American Cinematographer - April 2021 - 38
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American Cinematographer - April 2021 - Cover3
American Cinematographer - April 2021 - Cover4
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