The Warner Bros MPI team, along with colourist Maxine Gervais chose FilmLight’s Baselight colour suite for dailies and DI, for the film adaptation of stage musical Jersey Boys.
Director Clint Eastwood wanted a characteristic 1960s feel for the film, which was shot in 2K anamorphic using an ARRI ALEXA. Gervais worked on Baselight with cinematographer Tom Stern to create initial looks, meaning the dailies had some of the character Eastwood hoped to achieve before they got to editorial.
“Tom and I discussed doing dailies on Baselight, as they’d never done it before,” explained Gervais. “We established looks that we converted into LUTs to plug into Baselight, so when we started getting the material all I had to do was grab the right look and balance things out.”
“Clint wanted to create a strong, de-saturated style with a very periodic feel to it. He really wanted to portray the sixties, so we let certain colours breathe,” Gervais continued. “I would de-saturate the overall picture then grasp and pull through certain colours, making it look very similar to television in the sixties.”
“It was an intricate look,” she added. “When you go very de-saturated, it always requires a little more balancing. Tom is a wonderful DP who shoots fast, knows what he wants but always got time to light it well. With Tom’s support, knowledge and understanding of how Clint works, coupled with the power of Baselight, I really felt I could do anything with the look.”
