AMSTERDAM — Howard Lukk, Disney’s vp production technology, said that with the seemingly unlimited possibilities offered by digital technology, a big challenge now is that “every movie has a new workflow. Nothing seems consistent. ”
That scenario includes the fact that there’s a range of portable postproduction systems available that enable color work to be done on set, and productions are taking advantage of this to varying degrees.
But speaking on a panel during the International Broadcasting Convention, Lukk said Disney would prefer “fewer complications” by doing as little on set as possible. “We discourage a lot of color work on set,” he said, though acknowledging that it is currently a necessity to monitor color parameters. “[If in the future] we have good cameras with wider dynamic range, I don’t see a need for a DIT (Digital Imaging Technican) on set.”
Kate Morrison-Lyons, founder of U.K.-based Fluent Image, also discussed issues surrounding on-set color work. She said a plus is that one can convey an idea to the director, while a disadvantage is that it costs money and requires time.
Also, it has to be done right. “If you are making something different, you have to understand the consequences — you’ll have to change it throughout the process. … and if you can only create the look in dailies, then you have broken the image pipeline.”
More from The Hollywood Reporter
-
international
How a ‘Pooh’ Slasher Flick May Have Tipped Hong Kong Towards Greater Beijing Censorship
![]()
-
Stephen Root
Owen Wilson Says Wig Did “Heavy Lifting” to Help Him Play Bob Ross-Inspired Character in ‘Paint’
![]()
-
Heat Vision
Inside the Firing of Victoria Alonso: Her Oscar-Nominated Movie ‘Argentina, 1985’ at Center of Exit (Exclusive)
![]()
-
![]()
-
![]()
-
Heat Vision
‘John Wick: Chapter 4’ Director Chad Stahelski Breaks Down the Ending That Made the Studio Say, “Are You Insane?”
![]()
