COLOUR - 100th Episode Special

Team Deakins

James Ellis Deakins

Tv & Film, Filmlighting, Deakins, Movies, Filmmaking, Production, Film, Cinematography, Film Interviews

4.8 • 1.4K Ratings

🗓️ 31 July 2024

⏱️ 98 minutes

🔗️ Recording | iTunes | RSS

🧾️ Download transcript

Summary

SEASON 2 - EPISODE 100 - Colour - with Donald Mowat & Greig Fraser

In this special entry of the Team Deakins Podcast, we’re celebrating the 100th episode of our second season by sharing our conversation about colour in film with former guests (and good friends) cinematographer Greig Fraser and makeup artist Donald Mowat. Greig discusses his endless search for the right lighting and camera combination to achieve a complexity and depth in skin tones he sees in 1970s-era American cinema, and we reminisce about the consistency in results born from the compatibility between tungsten lights and film stock designed for tungsten lighting. Donald also recalls the “Magenta Scare” when the red-adjacent colour became a point of fixation for filmmakers, and we consider the value of relying on the experts with whom we work. Throughout our winding discussion, some of the topics we cover include: actors’ skin tones changing under stress, the evolving politics of the makeup department, the diverse (and distressing) settings and screens in which dailies are viewed, the trouble with painting a set grey, the varying qualities of LED lights, the varying qualities of coloured gels, how Greig tests for skin tones, how Donald sneaks reference photos for his department, and watching really bad films while on a shoot. Also included: Technicolor-era trivia from Roger.

A huge thank you to everyone still listening to the podcast!

This episode is sponsored by Aputure

Transcript

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0:00.0	Hi and welcome to season two of the Team Deacons podcast, a collection of
0:08.8	informal conversations between Roger and James Deacons and a guest.
0:13.0	We never know where the conversation will take us,
0:16.0	so listen in and see where it goes.
0:19.0	This episode is sponsored by Aperture, a global company pioneering LED lighting technology for cinema with cutting edge hardware and software solutions.
0:33.2	Recently, Aperture expanded its lighting ecosystem
0:36.5	with the new Infinomat series of mat lights.
0:39.7	They offer unmatched output, IP65 weatherproofing and full pixel control over DMX.
0:47.0	Discover more about the Infinemats and Aperture's lighting at Aperture.com.
0:53.2	This is the 100th episode of season 2 of the Team Deacons podcast. To mark the occasion we've got something special.
1:06.1	We're focusing on a specific topic with Greg Frazier, DP and Donald Mowat
1:11.7	make up joining us.
1:16.3	Today we're going to talk about controlling color
1:19.4	and film production.
1:20.6	We have with us cinematographer Greg Frazier and makeup artist Donald Moat.
1:25.0	Concern about color has always been there.
1:28.0	Roger, why don't you tell us about the Technicolor days?
1:31.0	Well, I just read, oh I just understood that when they used to shoot on Technicolor days. Well, I just understood that when they used to shoot on Technicolor, there would be a
1:36.0	Technicolor rep on set judging the lighting and whether the lighting was natural color.
1:45.0	I mean, yeah.
1:48.0	But cinematographers didn't use a lot of colors.
1:50.6	They might have used colors in the backgrounds, but even like Jack Cardiff on Black
	...

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