To light the set, Khondji embraced the imperfections and chose bright, garish lighting commonly seen inside those stores. Inside the jewelry store with NBA player Kevin Garnett, Howard (Adam Sandler) & Demany (LaKeith Stanfield) Credit: Wally McGrady/A24 Much of the story takes place inside Howard’s Diamond District jewelry store where production designer Sam Lisenco recreated the 47th street Manhattan look on a stage. We started with a softer contrast, but as the DI progressed, the directors wanted to push the blacks darker and crunchier, something a bit less controlled and polished, and more aggressive and lively.” “The Safdies wanted a very cinematic but modern New York rendition. In the grade, Van der Cruyssen detailed it further. Van der Cruyssen(Colorist) also asked for the camera crew to shoot additional grain elements that were then scanned at 4K and sampled over the digital scenes.Ĭolor-wise, a palette of blues, blacks, and golds stylized the gritty, contrast environments. Van der Cruyssen also asked for the camera crew to shoot additional grain elements that were then scanned at 4K and sampled over the digital scenes. To do so, they finished with ARRISCAN at 4K and created custom LUTs to blend the digital shoots with the film scans.
UNCUT GEMS BUDGET MOVIE
“There are a fair amount of digital scenes in the movie and we really wanted everything to feel cohesive, so we had to have a pipeline and color journey that worked well for digital and film,” says the colorist, whose work includes Waves and The Last Black Man in San Francisco. It was up to colorist Damien Van der Cruyssen to match the formats.
Since both 35mm and digital formats were used, the film scanner became an important role in the equation. During preproduction, Khondji shot tests and it was decided to push the film negative one stop. Howard (Adam Sandler) with his girlfriend Julia (Julia Fox) Credit: A24 Grain was another aspect to the cinematic language. Here, 75mm anamorphic was normal and we’d go up to 350mm regularly,” Khondji says. “I’m not used to shooting with long lenses and traditionally frame more around 50mm. When testing anamorphic, Khondji notes the directors “loved it” for how it “rendered the actors’ faces.” “It puts a kind of magnifier on the actors they felt was perfect for Howard.”Ĭompositionally, a combination of zooms, tracking shots, and long lenses formed a language where the camera would constantly follow the action.
UNCUT GEMS BUDGET SERIES
Howard (Adam Sandler) walking the streets of NY Credit: Julieta Cervantes/A24 Both 35mm and digital formats were tasked in creating the look, the main camera being an Arricam LT shooting anamorphic with Panavision C Series lenses. “I lived through the ‘80s but never touched the texture in any project before.” “They had a very exciting vision that was very new to me and they were so unpretentious about it,” he says. Khondji admits the approach isn’t what he’s accustomed to, as his photography principles lean more towards a ‘70’s glamorous style, but little by little it all made sense to him. Visually, the Safdies sought an ‘80s aesthetic inspired by the postmodern architecture of Michael Graves, the work of Robert Altman, and a garish, gritty look that captured the realism of New York. The Safdies made me shoot in ways I have never done before and that’s very exciting as a cameraman.” You’d think it would have been something I’ve done before but it’s not. “I was so happy to shoot a scene like this in my life. “I love this moment,” says cinematographer Darius Khondji, whose work includes Se7en, Midnight in Paris, Amour and Evita. The emotion behind the dialog traditionally calls for close-ups, but the Sadfies instead tracked the characters in profile from a distance, as if the camera could be a pedestrian witnessing their argument from across the street. The mood grows in intensity as they walk down the street before it eventually boils over. The scene has Howard rushing out of a nightclub arguing with his girlfriend Julia (Julia Fox) where singer The Weeknd has just performed for a crowd.
UNCUT GEMS BUDGET HOW TO
There’s a sequence in Uncut Gems, a Safdie brother’s film starring Adam Sandler as a gambling-addicted New York jewelry store owner named Howard Ratner, that acts as a quintessential teaching moment in how to block the familiar differently. The renowned cinematographer and the film's colorist detail how they achieved the unique aesthetic behind the Safdie brother's latest.
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