Company 3’s Post

Post Magazine delves into the meticulous color grading process behind Apple TV ’s Lady in the Lake. Set in 1966 Baltimore, the series follows Natalie Portman as an investigative journalist uncovering a series of shocking murders. To bring the era to life, director Alma Har’el enlisted the expertise of Company 3 Senior Colorist Yvan Lucas. Lucas’s meticulous approach extended to fine-tuning the show’s atmosphere. He employed techniques like adding subtle grain, selective bleach bypass effects, and careful adjustments to exposure to create a sense of depth and realism. By subtly manipulating the color palette and texture, he enhanced the show’s immersive quality, transporting viewers back to 1960s Baltimore. Read the full article here 👉 https://lnkd.in/e3VNPEDX

Senior Colorist sean coleman, based at Company 3 Los Angeles, has worked with some of the world's most respected commercial directors on hundreds of spots for dozens of major national and international brands. In a recent chat with LBBonline - Little Black Book, Sean dives into his color grading process, revealing how he collaborates with directors and DPs to bring their creative visions to life while navigating both digital and film formats. Read more about Sean and his key advice for colorists here 👉 https://lnkd.in/dWp2zc9J

Company 3 Senior Colorist Greg Fisher returns with his latest collaboration with director Yorgos Lanthimos on the film 'Kinds of Kindness'. Known for his previous work on Poor Things, Greg discusses the unique color grading techniques used in the triptych fable starring Emma Stone and Willem Dafoe.   In this recent interview with Post Magazine, Greg chats about the unique challenges of grading this film and the innovative approach that sets it apart. He also explores how he navigates the dynamic collaboration between directors and cinematographers to achieve a compelling visual narrative.   Curious about the creative process behind the film’s striking look? Read the full article here 👉 https://lnkd.in/eNSgE6CB

British Airways 'A British Original Period Drama' 👑 ✈️   May we haveth one's attention please? 🔉 British Airways has released their new safety onboarding film. Inspired by Britain’s famous period literature and featuring 40 of their own attendants, this film was graded out of Company 3 London by Senior Colorist Yoomin Lee. ✨   Color | Yoomin Lee Color EP | Ellora Soret Color Producer | Kerri Aungle Director | Sharon Maguire DP | Erik Wilson                                        Agency | Uncommon Creative Studio Prod Co | Bang TV Edit | Joe Guest Leah Burton Final Cut

'Deadpool & Wolverine' ❤️⚔️💛 Director Shawn Levy brings us the long-awaited duo, the Merc with the Mouth and everyone's favorite mutant to safeguard the multiverse. Catch the box office record-breaking hit, graded by Senior Colorist Skip Kimball, #DeadpoolAndWolverine playing in theaters everywhere. Color | Skip Kimball Additional Color | Adam Nazarenko 3D Color | Jared Pecht, Alan Gordon Finishing Editors | John Diesso, Chris Doerr Color Production | Laura Holeman, Jessica Stone, Megan White Trailers | Carl McKay, Behnood Behjoo, Levi Hawkinson Director | Shawn Levy DP | George Richmond, BSC Editors | Dean Zimmerman ACE, Shane Reid Production Design | Ray Chan 3D Stereo VFX | SDFX Studios VFX | Framestore Main Titles | Method Studios

The August 2024 issue of American Cinematographer Magazine takes you behind the scenes of MaXXXine, Director Ti West's latest horror film. Cinematographer Eliot Rockett and West reveal their process for capturing the film's nostalgic 1980s look.   A key highlight is the contribution of Company 3 Senior Colorist Tom Poole, who played a pivotal role in achieving the film’s authentic feel. Poole explains, "I had to create different LUTs for different situations: there was a slightly cleaner print [film look], a nighttime one, and one for warmer light. We also created an effects layer with some vignetting and softness. Then, in the finishing, we added grain and halation to make it feel even more authentic."   Read more on the creative process that brought this vision to life here 👉 https://lnkd.in/gXiSc9W4

We're excited to announce that 7 outstanding music videos featuring our color work have received 11 nominations at the 2024 MTV Video Music Awards! 🌟 The MTV VMAs showcase the most innovative music videos of the year, and we are honored to have contributed to these exceptional projects. 💗   Join us as we look forward to a fantastic night filled with stars and surprises at the UBS Arena in New York on Tuesday, September 10th! Check out our list of nominees here 👉 https://lnkd.in/g7QJE2E6 Ariana Grande ‘we can’t be friends (wait for your love)’ | Matt Osborne Sabrina Carpenter ‘Please Please Please’ | Tim Masick Bleachers ‘Tiny Moves’ | Jake White Dua Lipa ‘Illusion’ | Tim Masick Rauw Alejandro ‘Touching The Sky’ | Matt Osborne Ariana Grande ‘the boy is mine’ | Matt Osborne Tyler Childers ‘In Your Love’ | Matt Osborne

Delta Air Lines x Team USA 'You Get You There' 🛫💪 As the official airline for #TeamUSA, Delta Airlines has released a series of inspiring new spots in its campaign to celebrate the team's journey to the 2024 Olympics! ✨ These visuals, graded by Senior Colorist Joseph Bicknell at Company 3 New York, emphasize that it takes a lot to go places, but most importantly, it takes you. Check out 1 of the spots below ⬇️   Color | Joseph Bicknell Color Producer | Cassidy Conway Director | Raine Allen-Miller DP | Olan Collardy Agency | Wieden Kennedy Production Co | MJZ Edit | Elise Butt Josh Mannox Trim Editing

With a 100% review on Rotten Tomatoes, Netflix's 'Supacell' has captivated audiences with its striking portrayal of South London and its unique spin on the superhero genre. Created, written, and co-directed by Rapman, the series explores the lives of ordinary people who gain superpowers while spotlighting sickle cell disease in a fresh and engaging way.   Senior Colorist Joseph Bicknell was crucial in crafting the show's visual appeal. According to Bicknell, “We wanted something very engaging, warm and colourful but it was also important to make it feel grounded and no matter how intense the palette was you still had the humanity of the characters and their performance. It’s also about looking at the scenes that need more energy and making sure we’re bringing enough to feel consistently part of the world. I think you can push colour quite far as long as you have the balance right and it aligns with the tone of the scene and the story overall.”   Read more about the creative process behind the series here 👉 https://lnkd.in/ghqtj9Km