How did you handle color work in HDR for the four different atmospheres required? 

We had a long list of war and action movie references and different situations to develop. It was forbidden to desaturate and, on the contrary, we were invited to play with very sharp and present colors in the different situations, such as in the scenes at Cabiria club, all in the red range, or in the night scenes in the Black Zone, all in cyan. We were obviously trying not to lose the “war look” requested by the DP and the director. In all this, the digital ARRI material was a valuable ally, because it responds naturally to every need during color correction. The rest was done by Gian Filippo Corticelli, who together with the set and costume department brought this nuanced film to life. I, after all, only put in the LMT.

How did the use of ARRI technology benefit working in HDR in this project? 

Doing color correction in HDR with digital files from ARRI cameras is extremely simple and without compromises. Its extensive latitude and its ability to read and record highlights helps a great deal with choices in color HDR, almost making them obvious. It is amazing to see how much information the ALEXA camera manages and returns in all the color spaces in which it works. In my opinion, no camera on the market can match the ALEXA on this.  

Can you tell us more about the LMT creation work done with the cinematographer? 

There would be much to say about the LMT and its various applications. But in this case, I can only say that I am an old school colorist. With Gian Filippo Corticelli, we created a LMT with a color palette as close as possible to Kodak film, but without dominants that somehow interacted with the color temperature choices of the lights used on set. The contrast also had to be in line with Gian Filippo's choices on set. On the exposure range, on the other hand, we worked to have a darker LMT of two to three stops. We did that in order to work with a slight overexposure, which results in a much richer and "glazed" black, at least in my way of doing color correction. 

Opening image: Netflix