{"id":92715,"date":"2017-07-20T07:00:59","date_gmt":"2017-07-20T12:00:59","guid":{"rendered":"https:\/\/www.premiumbeat.com\/blog\/?p=92715"},"modified":"2017-07-19T13:10:28","modified_gmt":"2017-07-19T18:10:28","slug":"cinematographers-fargo-stranger-things-create-vintage-look-digital-world","status":"publish","type":"post","link":"https:\/\/www.premiumbeat.com\/blog\/cinematographers-fargo-stranger-things-create-vintage-look-digital-world\/","title":{"rendered":"How to Create a Vintage Look in a Digital World"},"content":{"rendered":"

Learn how to create an authentic period look from the cinematographers behind Fargo and Stranger Things. \u00a0<\/strong><\/h2>\n

Cover image via Keslow Camera<\/a>.<\/em><\/p>\n

Dana Gonzales, ASC recently spoke<\/a> about the light sources<\/strong> he used filming Season Two of Fargo<\/em><\/a>. For a series set in the ’60s, he researched and found that the sodium vapor street lamps<\/strong> were not period accurate. He and his lighting team then fit all the street lamps \u2014 and other practical sources \u2014 with warm tungsten bulbs to match the color of light<\/strong> that would have been appropriate for the period.<\/p>\n

In search of period-perfect nighttime ambience<\/strong>, Gonzales and his team replaced every sodium-lamp streetlight in the Canadian town standing in for Luverne, Minn., where hapless butcher Ed and his beautician wife, Peggy, have their shops.<\/p>\n

We changed the bulbs of that whole street back to warm tungsten lights. I went to great lengths creating a mood with this kind of lighting because it pulls the audience into the world when the story takes place. People come up to me all the time and say, ‘Fargo reminds me of this street I used to live on in the ’70s without knowing why.’ Well, a lot of that feeling has to do with the color of the light.<\/p><\/blockquote>\n

Lenses<\/strong><\/h3>\n

\"How<\/a>
\nVintage lenses are hot right now. Everything from Kowa Anamorphics and\u00a0Canon K-35s<\/strong> are helping to provide this vintage look in the digital age. Each lens has unique characteristics. Even modern lenses can offer some vintage characteristics<\/strong>. For this reason, it’s always wise to test a variety of lenses<\/strong> if you\u2019re going after a certain look. This is exactly what Stranger Things<\/em> cinematographer Tim Ives<\/a> did when creating the look of the show.<\/p>\n

I found the Leica had a flatness and smoothness and roundness to them, which made the skin tone just beautiful and had that ’80s feel to them. We wanted the contrast and did not want it to feel flat and overlit. I wanted it to be dark. This is a horror fantasy show and wanted the details to be in the shadows.<\/p><\/blockquote>\n

Filtration<\/strong><\/h3>\n

Filtration can play a huge role in achieving a vintage or period look<\/strong>. One of my personal favorites is Black ProMist diffusion<\/a> for achieving a vintage vibe. It introduces a beautiful halation to the images<\/strong> and gives the shadows a pleasant creaminess while still maintaining contrast. It\u2019s also a great way to soften up sharp digital images<\/strong> but maintain the sharpness in the eyes to create a perfect balance. Take a look at the video below to catch a glimpse at what the different strengths of Black ProMist can offer.<\/p>\n