Director Bradford Lipson won the 27th Award from the American Society of Cinematographers for â€śOutstanding Achievement in Half-Hour Episodic Television Seriesâ€ť for Wilfred.
Online PR News – 08-August-2013 – Los Angeles, August 8, 2013 – Lipson worked hand in hand with illuminate Hollywoodâ€™s Andrew Drapkin, who colored all 13 episodes of season two. illuminate Hollywood is now working on season three of this series.
For Andrew Drapkin, illuminateâ€™s colorist, â€śThis was a challenging film coloring project, shot with three 8-bit DSLR cameras. Our approach was to make the series look like a feature rather than like a sitcom, and we came up with a wonderful rich look. We were not scared of shadows, low lights, and of a good theatrical feel. Each episode had its own challenges, and we did 13 episodes. The challenge with 8-bit DSLR consumer cameras is that you have to fight to get the color where it needs to be: often you just do not have enough pixels to make the image sing. To compensate for that, we had to use a lot of tools and creativity. The end result looked great, and we are delighted that the ASC gave Lipson this award.â€ť
As a cinematographer based in Los Angeles, Brad Lipson directs Wilfred, a black comedy starring Elijah Wood, playing a depressed young man named Ryan who sees his neighborâ€™s dog (portrayed by series co-creator Jason Gann) as a man wearing a dog suit. The critically praised show on FX was adapted from the original Australian series, also co-created by Gann.
Lipson shot this series on DSLRs to get the large, full-frame sensor and wide-open aperture to create that amazing shallow depth of field. It is the main reason why the show isnâ€™t shot on a traditional production camera. Since its inception that has been an important element to the look of the show, and the way the relationship between Ryan and Wilfred is portrayed. They shot three cameras simultaneously. Most single-camera shows use two cameras: one will get the master and the other will get a medium shot or another angle if possible. They used three cameras to get the master and coverage from both sides at the same time, which can be very difficult. Trying to light the off-camera side is often challenging with the three-camera setup. They also had a hot down-light bounce off a surface that is in the shot to illuminate Ryan and Wilfredâ€”in the basement in night scenes. It creates an interesting look and itâ€™s something that works on this show.
About [illuminate Hollywood]
About illuminate Hollywood.
illuminate Hollywood consists of two facilities located Â˝ mile apart from each other:
illuminate Post /Digital Finishing and illuminate Studios.
illuminate Post /Digital Finishing services include:
â€˘ Digital intermediate
â€˘ iConform to HD, 2K, and 4K conforming from original film
â€˘ Digital file deliverables
â€˘ Editorial services
â€˘ Audio services
â€˘ Color correction
â€˘ Film coloring
â€˘ 3D conversion
â€˘ Visual effects and graphics
illuminate Studiosâ€™ services include:
â€˘ 4 sound stages with pre-lit sets, fully equipped for HD multi-camera production
â€˘ In-house cameras, 3 control rooms, comprehensive production equipment. All stages include complete lighting packages.
â€˘ Fully crewed production is available
â€˘ HD/SD fiber connectivity
â€˘ Social media video chat connectivity
â€˘ Kitchen sets, news sets, and talk-show sets
â€˘ Virtual sets, motion tracking
â€˘ Coved green screen
â€˘ Green rooms, conference rooms, production offices, dressing rooms
â€˘ 16' high lighting grid, 48 channel lighting board, clearcom/RTS intercom
â€˘ Secure exterior staging area
â€˘ On-site parking with free overflow lot
Contact us to find out how illuminate Hollywood can work with you.
Jim Hardy, CEO, (323) 969 8822, or
Steve Wiener, Chairman
Visit our website: www.illuminatehollywood.com