Next Thursday, I will officially be doing this year’s Barbenheimer: YOU CAN SEE WHALEFALL
Takes from the Crypt
@nopartynodisco.bsky.social
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Former S.P.H.I.N.X. commander. Current writer/digital distribution fella. Film talk, New England & Syracuse sports talk, occasional deranged ranting
![Moore, who works frequently in the advertising and music video space, refers to creative directors who bring in lookbooks featuring shots by Wong Kar-Wai and David Fincher, and then, when the time comes to do the shot, recoil from those more stylish ideas—blown-out highlights, velvety colors, inky blacks, tactile contrast, visible noise and grain—instead pushing his team to pivot towards something flatter, more even, duller, and easier to rework later. In his experience, rather than create dynamic shots on set and refine them in post, there is an expectation to capture the blueprint on set and ultimately create the image in post-production.
That’s rarely a possibility. “I know colleagues who do great work, but a lot of times it’s not set up in prep,” Yedlin says. “So then [there’s] this Herculean effort in post to get it to work, because they don’t have that setup.” As Brady quips, “If you didn’t do anything particularly interesting on set, you’re not gonna be able to make it look that good later.”](https://cdn.bsky.app/img/feed_thumbnail/plain/did:plc:bck7uabvjt4xu5uzn3exzhqj/bafkreifjqw7dbrqinnpfdp6l4norhvhfgfyl62pkha2oqsifgvcpifslwq)
