{"id":102740,"date":"2018-06-13T06:00:15","date_gmt":"2018-06-13T11:00:15","guid":{"rendered":"https:\/\/www.premiumbeat.com\/blog\/?p=102740"},"modified":"2019-04-02T10:42:45","modified_gmt":"2019-04-02T15:42:45","slug":"creating-look-donald-glovers-atlanta","status":"publish","type":"post","link":"https:\/\/www.premiumbeat.com\/blog\/creating-look-donald-glovers-atlanta\/","title":{"rendered":"Creating the Film Look of Donald Glover\u2019s &#8220;Atlanta&#8221;"},"content":{"rendered":"<h2 id=\"these-interviews-take-an-insightful-look-into-how-the-filmmakers-behind-atlanta-created-the-their-own-unique-style-and-look\">These interviews take an insightful look into how the filmmakers behind \u201cAtlanta\u201d created the their own unique style and look.<\/h2>\n<p><em>Cover image via <a href=\"http:\/\/www.fxnetworks.com\/shows\/atlanta\" target=\"_blank\" rel=\"noopener noreferrer\" data-wpel-link=\"external\">FX Networks<\/a>.<\/em><\/p>\n<p>In some great interviews with <a href=\"https:\/\/nofilmschool.com\/2016\/08\/how-cinematographer-christian-sprenger-shot-donald-glovers-atlanta\" target=\"_blank\" rel=\"noopener noreferrer\" data-wpel-link=\"external\">No Film School<\/a>, <a href=\"https:\/\/www.provideocoalition.com\/bhallett\/\" target=\"_blank\" rel=\"noopener noreferrer\" data-wpel-link=\"external\">Brian Hallett<\/a>, and <a href=\"https:\/\/www.provideocoalition.com\/art-of-the-shot-atlanta-dp-christian-sprenger\/\" target=\"_blank\" rel=\"noopener noreferrer\" data-wpel-link=\"external\">Pro Video Coalition<\/a>, Director of Photography <a href=\"http:\/\/www.imdb.com\/name\/nm2018752\/?ref_=fn_al_nm_1\" target=\"_blank\" rel=\"noopener noreferrer\" data-wpel-link=\"external\">Christian Sprenger<\/a>\u00a0offers some fascinating insights into how he worked with director <a href=\"http:\/\/hiromurai.com\/\" target=\"_blank\" rel=\"noopener noreferrer\" data-wpel-link=\"external\">Hiro Murai<\/a> and <a href=\"https:\/\/www.imdb.com\/name\/nm2255973\/\" target=\"_blank\" rel=\"noopener noreferrer\" data-wpel-link=\"external\">Donald Glover<\/a> to create <em><a href=\"https:\/\/www.imdb.com\/title\/tt4288182\/?ref_=nm_knf_t1\" target=\"_blank\" rel=\"noopener noreferrer\" data-wpel-link=\"external\">Atlanta\u2019s<\/a><\/em> signature look and style.<\/p>\n<p><span class=\"embed-youtube\" style=\"text-align:center; display: block;\"><iframe loading=\"lazy\" class=\"youtube-player\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/HOISf7Zo0DQ?version=3&#038;rel=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=en-US&#038;autohide=2&#038;wmode=transparent\" allowfullscreen=\"true\" style=\"border:0;\" sandbox=\"allow-scripts allow-same-origin allow-popups allow-presentation allow-popups-to-escape-sandbox\"><\/iframe><\/span><\/p>\n<p>Fresh on the heels of <em>Atlanta&#8217;s<\/em> success, let&#8217;s\u00a0explore how they were able to develop\u00a0the\u00a0cinematic look that has helped\u00a0launch an Emmy-award winning program.<\/p>\n<hr \/>\n<h3 id=\"the-camera-and-lights\">The Camera and Lights<\/h3>\n<p><a href=\"https:\/\/www.premiumbeat.com\/blog\/wp-content\/uploads\/2018\/06\/amira.jpg\" target=\"_blank\" rel=\"noopener noreferrer\" data-wpel-link=\"internal\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone wp-image-102819 size-full\" title=\"Insights Into Creating the Film Look of Donald Glover\u2019s &quot;Atlanta&quot; \u2014 Camera\" src=\"https:\/\/www.premiumbeat.com\/blog\/wp-content\/uploads\/2018\/06\/amira.jpg\" alt=\"Insights Into Creating the Film Look of Donald Glover\u2019s &quot;Atlanta&quot; \u2014 Camera\" width=\"755\" height=\"498\" srcset=\"https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2018\/06\/amira.jpg 755w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2018\/06\/amira.jpg?resize=300,198 300w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2018\/06\/amira.jpg?resize=277,183 277w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2018\/06\/amira.jpg?resize=359,237 359w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2018\/06\/amira.jpg?resize=543,358 543w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2018\/06\/amira.jpg?resize=560,369 560w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2018\/06\/amira.jpg?resize=150,99 150w\" sizes=\"auto, (max-width: 755px) 100vw, 755px\" \/><br \/>\n<\/a><em>Image via <a href=\"http:\/\/www.arri.com\/camera\/amira\/\" target=\"_blank\" rel=\"noopener noreferrer\" data-wpel-link=\"external\">ARRI<\/a>.<\/em><\/p>\n<blockquote><p>I shot on the ARRI Amira with Kowa Prominar Spherical Prime lenses. Keslow Camera was our rental house. Lighting-wise, I would say 75% of the show was lit with LEDs. Our gaffer Cody Jacobs works very closely with LightGear and we built a lot of custom fixtures, LED gem-balls and LED pancakes, and little fixtures that we could hide or quickly toss up on the ceiling (via PVC).<\/p><\/blockquote>\n<p>As much a stylistic choice as an industry-standard selection, Sprenger and Murai\u2019s decision to shoot on <a href=\"http:\/\/www.arri.com\/camera\/amira\/\" target=\"_blank\" rel=\"noopener noreferrer\" data-wpel-link=\"external\">ARRI Amira<\/a> with <a href=\"https:\/\/lenses.kowa-usa.com\/search?controller=search&amp;orderby=position&amp;orderway=desc&amp;search_query=Kowa+Cine+Prominar+lenses&amp;submit_search=\" target=\"_blank\" rel=\"noopener noreferrer\" data-wpel-link=\"external\">Kowa Cine Prominar lenses<\/a>\u00a0gave the team the same production-level look of modern film and television \u2014 along with some leeway for their push process.\u00a0Also with their LED-heavy production, the team made use of <a href=\"https:\/\/www.cineolighting.com\/\" target=\"_blank\" rel=\"noopener noreferrer\" data-wpel-link=\"external\">Cineo Trucolor<\/a> sources and <a href=\"http:\/\/www.arri.com\/lighting\/skypanel\/\" target=\"_blank\" rel=\"noopener noreferrer\" data-wpel-link=\"external\">ARRI SkyPanel lights<\/a>\u00a0(<a href=\"https:\/\/www.premiumbeat.com\/blog\/led-lighting-with-arri-skypanel\/\" data-wpel-link=\"internal\">the latter of which you can read more about here<\/a>).<\/p>\n<hr \/>\n<h3 id=\"under-exposure-processing\">Under Exposure Processing<\/h3>\n<p><a href=\"https:\/\/www.premiumbeat.com\/blog\/wp-content\/uploads\/2018\/06\/Atlanta-Donald-Glover-Exposure.jpg\" target=\"_blank\" rel=\"noopener noreferrer\" data-wpel-link=\"internal\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone wp-image-102747 size-full\" title=\"Insights Into Creating the Film Look of Donald Glover\u2019s &quot;Atlanta&quot; \u2014 Under Exposure\" src=\"https:\/\/www.premiumbeat.com\/blog\/wp-content\/uploads\/2018\/06\/Atlanta-Donald-Glover-Exposure.jpg\" alt=\"Insights Into Creating the Film Look of Donald Glover\u2019s &quot;Atlanta&quot; \u2014 Under Exposure\" width=\"755\" height=\"503\" srcset=\"https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2018\/06\/Atlanta-Donald-Glover-Exposure.jpg 755w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2018\/06\/Atlanta-Donald-Glover-Exposure.jpg?resize=300,200 300w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2018\/06\/Atlanta-Donald-Glover-Exposure.jpg?resize=277,185 277w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2018\/06\/Atlanta-Donald-Glover-Exposure.jpg?resize=359,239 359w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2018\/06\/Atlanta-Donald-Glover-Exposure.jpg?resize=543,362 543w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2018\/06\/Atlanta-Donald-Glover-Exposure.jpg?resize=560,373 560w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2018\/06\/Atlanta-Donald-Glover-Exposure.jpg?resize=150,100 150w\" sizes=\"auto, (max-width: 755px) 100vw, 755px\" \/><br \/>\n<\/a><em>Image via FX.<\/em><\/p>\n<blockquote><p>We were shooting dark complexions and a lot of times night exteriors so our DIT Chris Hoyle would live grade the images back up those three or four stops to normal exposure to see what it was going to look like. Being able to see our noise floor and see where the bottom was without completely destroying the image was very helpful (via NFS).<\/p><\/blockquote>\n<p>With the ARRI Amira, Sprenger worked with a bumped-up ISO (around 1280 or 1600) while underexposed three or four stops to create a temperamental, foggy film look. When shooting with a pushed ISO and underexposed footage, Sprenger cautions that it can quickly become difficult to see through the camera&#8217;s eyepiece and monitor the footage, which can become almost completely black.<\/p>\n<hr \/>\n<h3 id=\"on-set-color-grading\">On-Set Color Grading<\/h3>\n<p><a href=\"https:\/\/www.premiumbeat.com\/blog\/wp-content\/uploads\/2018\/06\/Atlanta-Donald-Glover-Colors.jpg\" target=\"_blank\" rel=\"noopener noreferrer\" data-wpel-link=\"internal\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone wp-image-102748 size-full\" title=\"Insights Into Creating the Film Look of Donald Glover\u2019s &quot;Atlanta&quot; \u2014 Color Grading\" src=\"https:\/\/www.premiumbeat.com\/blog\/wp-content\/uploads\/2018\/06\/Atlanta-Donald-Glover-Colors.jpg\" alt=\"Insights Into Creating the Film Look of Donald Glover\u2019s &quot;Atlanta&quot; \u2014 Color Grading\" width=\"755\" height=\"503\" srcset=\"https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2018\/06\/Atlanta-Donald-Glover-Colors.jpg 755w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2018\/06\/Atlanta-Donald-Glover-Colors.jpg?resize=300,200 300w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2018\/06\/Atlanta-Donald-Glover-Colors.jpg?resize=277,185 277w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2018\/06\/Atlanta-Donald-Glover-Colors.jpg?resize=359,239 359w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2018\/06\/Atlanta-Donald-Glover-Colors.jpg?resize=543,362 543w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2018\/06\/Atlanta-Donald-Glover-Colors.jpg?resize=560,373 560w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2018\/06\/Atlanta-Donald-Glover-Colors.jpg?resize=150,100 150w\" sizes=\"auto, (max-width: 755px) 100vw, 755px\" \/><br \/>\n<\/a><em>Image via FX.<\/em><\/p>\n<blockquote><p>We essentially didn\u2019t work with a post house. We did it all of it on set and had a post PA send everything out to Los Angeles. It was a totally seamless way to work and integral for the look of the show (via NFS).<\/p><\/blockquote>\n<p>From the same interview with NFS, Sprenger explains their on-set color grading workflow, which basically created a post house on set. The team used \u201ca combination of <a href=\"https:\/\/www.premiumbeat.com\/blog\/category\/davinci-resolve\/\" target=\"_blank\" rel=\"noopener noreferrer\" data-wpel-link=\"internal\">DaVinci Resolve<\/a> and <a href=\"https:\/\/pomfort.com\/livegradepro\/\" target=\"_blank\" rel=\"noopener noreferrer\" data-wpel-link=\"external\">Pomfort Livegrade<\/a>,\u201d which allowed them to build \u201ccustom curves to apply to the Rec.709 image and [they] would then send those baked images out for dailies and editorial use.\u201d<\/p>\n<hr \/>\n<h3 id=\"bonus-creating-the-atlanta-trailer-transition\">Bonus: Creating the Atlanta Trailer Transition<\/h3>\n<p><span class=\"embed-youtube\" style=\"text-align:center; display: block;\"><iframe loading=\"lazy\" class=\"youtube-player\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/VoJSAdwvMSo?version=3&#038;rel=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=en-US&#038;autohide=2&#038;wmode=transparent\" allowfullscreen=\"true\" style=\"border:0;\" sandbox=\"allow-scripts allow-same-origin allow-popups allow-presentation allow-popups-to-escape-sandbox\"><\/iframe><\/span><\/p>\n<p>As an added bonus, any fan of the series is surely fond of the viral sensation <em>Atlanta<\/em> trailer, which recently came out to promote the much-anticipated second season. While the effect seems like a tricky VFX-heavy concept, it&#8217;s actually a pretty ingenious technique\u00a0that combines in-camera\u00a0tricks and some simple green screen compositing.\u00a0To get the results of the final video above, the team at\u00a0<a href=\"https:\/\/www.cinecom.net\/\" target=\"_blank\" rel=\"noopener noreferrer\" data-wpel-link=\"external\">Cinecom.net<\/a>\u00a0have done the legwork of recreating the effect and outlining a step-by-step process to\u00a0make it on your own. Check out the video tutorial below,\u00a0<a href=\"https:\/\/www.premiumbeat.com\/blog\/camera-rotation-transition-atlanta-trailer\/\" target=\"_blank\" rel=\"noopener noreferrer\" data-wpel-link=\"internal\">and read the full article breakdown at PremiumBeat<\/a>.<\/p>\n<p><span class=\"embed-youtube\" style=\"text-align:center; display: block;\"><iframe loading=\"lazy\" class=\"youtube-player\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/dgl5Qmmuca0?version=3&#038;rel=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=en-US&#038;autohide=2&#038;wmode=transparent\" allowfullscreen=\"true\" style=\"border:0;\" sandbox=\"allow-scripts allow-same-origin allow-popups allow-presentation allow-popups-to-escape-sandbox\"><\/iframe><\/span><\/p>\n<p><i>If you\u2019re interested in more info on the post-production process for \u201cThis is America,\u201d\u00a0<\/i><a href=\"https:\/\/www.premiumbeat.com\/blog\/interview-editor-this-is-america\/\" target=\"_blank\" rel=\"noopener noreferrer\" data-wpel-link=\"internal\"><i>check out PremiumBeat\u2019s interview<\/i><\/a><i> with editor <\/i><a href=\"http:\/\/www.iamernie.com\/editing\/\" target=\"_blank\" rel=\"noopener noreferrer\" data-wpel-link=\"external\"><i>Ernie Gilbert<\/i><\/a><i> (and see if you can catch the hidden cuts)!<\/i><\/p>\n<p>For more production insights, interviews, and resources, check out some of these articles.<\/p>\n<ul>\n<li class=\"post-title\"><a href=\"https:\/\/www.premiumbeat.com\/blog\/tips-shooting-retro-film-stock\/\" target=\"_blank\" rel=\"noopener noreferrer\" data-wpel-link=\"internal\">7 Things to Consider When Shooting on Retro Film Stock<\/a><\/li>\n<li class=\"post-title\"><a href=\"https:\/\/www.premiumbeat.com\/blog\/shooting-period-film-tight-budget\/\" target=\"_blank\" rel=\"noopener noreferrer\" data-wpel-link=\"internal\">5 Tips for Shooting a Period Film on a Tight Budget<\/a><\/li>\n<li class=\"post-title\"><a href=\"https:\/\/www.premiumbeat.com\/blog\/calibrating-video-monitors-on-set\/\" target=\"_blank\" rel=\"noopener noreferrer\" data-wpel-link=\"internal\">Production Tip: How to Calibrate Your Monitors on Set<\/a><\/li>\n<li class=\"post-title\"><a href=\"https:\/\/www.premiumbeat.com\/blog\/tips-ruth-bader-ginsberg-documentary\/\" target=\"_blank\" rel=\"noopener noreferrer\" data-wpel-link=\"internal\">Tips from the Team Behind the Ruth Bader Ginsberg Sundance Documentary<\/a><\/li>\n<li class=\"post-title\"><a href=\"https:\/\/www.premiumbeat.com\/blog\/understand-project-files-davinci-resolve\/\" target=\"_blank\" rel=\"noopener noreferrer\" data-wpel-link=\"internal\">Your Guide to Working with Project Files in DaVinci Resolve<\/a><\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":"<p>These interviews take an insightful look into how the filmmakers behind \u201cAtlanta\u201d created the their own unique style and look.<\/p>\n","protected":false},"author":76,"featured_media":102744,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2},"jetpack_post_was_ever_published":false},"categories":[4519,3843,715,79,583],"tags":[536,857,5380,472],"class_list":["post-class-post-102740","post-class-post","post-class-type-post","post-class-status-publish","post-class-format-standard","post-class-has-post-thumbnail","post-class-hentry","post-class-category-cinematography-2","post-class-category-filmmaking-2","post-class-category-industry","post-class-category-inspiration","post-class-category-video-production-2","post-class-tag-filmmaking","post-class-tag-industry-2","post-class-tag-inspiration","post-class-tag-video-production"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v18.5 (Yoast SEO v27.7) - https:\/\/yoast.com\/product\/yoast-seo-premium-wordpress\/ -->\n<title>Creating the Film Look of Donald Glover\u2019s &quot;Atlanta&quot;<\/title>\n<meta name=\"description\" content=\"These interviews take an insightful look into how the filmmakers behind \u201cAtlanta\u201d created the their own unique style and look.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.premiumbeat.com\/blog\/creating-look-donald-glovers-atlanta\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Creating the Film Look of Donald Glover\u2019s &quot;Atlanta&quot;\" \/>\n<meta property=\"og:description\" content=\"These interviews take an insightful look into how the filmmakers behind \u201cAtlanta\u201d created the their own unique style and look.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.premiumbeat.com\/blog\/creating-look-donald-glovers-atlanta\/\" \/>\n<meta property=\"og:site_name\" content=\"The Beat: A Blog by PremiumBeat\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/premiumbeat\" \/>\n<meta property=\"article:author\" content=\"https:\/\/www.facebook.com\/jourdan.aldredge\" \/>\n<meta property=\"article:published_time\" content=\"2018-06-13T11:00:15+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2019-04-02T15:42:45+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/pbblogassets.s3.amazonaws.com\/uploads\/2018\/06\/12115359\/Atlanta-Donald-Glover-Look-Cover.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1000\" \/>\n\t<meta property=\"og:image:height\" content=\"584\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Jourdan Aldredge\" 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