Indiana Jones and the Last Crusade is often remembered as the “fun” one the apology for the darker, grittier Temple of Doom. But revisiting it now as a filmmaker and colorist running Color Culture, I’m struck by how visually sophisticated it actually… Read More »Indiana Jones and the Last Crusade (1989) – Cinematography Analysis
Let’s talk about Spider-Man: No Way Home. Looking past the deafening hype and the meme culture surrounding it, this film is actually a fascinating case study for those of us in post-production. The challenge here wasn’t just the script; it was… Read More »Spider-Man: No Way Home (2021) – Cinematography Analysis
As a professional colorist at Color Culture, I spend most of my waking hours in a dark room, staring at screens and obsessing over curves. When you look at images all day for a living, you stop seeing just the… Read More »Jurassic Park (1993) – Cinematography Analysis
Let’s be real about Kill Bill: Vol. 1. For those of us who stare at waveforms and vectorscopes all day, this movie is a headache in the best possible way. It’s a visual manifesto that refuses to pick a lane. Quentin… Read More »Kill Bill: Vol. 1 (2003) – Cinematography Analysis
Most submarine movies make the same mistake: they treat the vessel like a stage set. You get the ping of the sonar and the periscope shot, but you never really feel the weight of the water. Das Boot is the exception. It… Read More »Das Boot (1981) – Cinematography Analysis
As the founder of Color Culture, I spend most of my waking hours staring at reference monitors, tweaking curves, and obsessing over signal flows. Usually, I’m dissecting live-action footage, trying to make digital sensors look like organic memory. But when… Read More »Your Name. (2016) – Cinematography Analysis
Most people remember Dr. Strangelove for Peter Sellers’ legendary triple performance or the dark satire. But as a filmmaker and the owner of Color Culture, I find myself obsessing over something else entirely: the density of the blacks and the geometry of… Read More »Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb- Cinematography Analysis