The On-Set RED Workflow of 'Hitchcock'

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DIT Brandon Lippard speaks to FXGuide about his one-man setup to deliver rushes, syncing and dailies on the set of Hitchcock. He explains, "On a typical day on Hitchcock, I would sit down at the monitors with [DP] Jeff [Cronenweth] and talk over the look of that particular scene. Nine times out of ten I would be applying a look similar to what he was viewing. Typically, I was just giving the shots a little more 'pop' before passing them off to editorial. The technology also played a role with viewing multiple looks, at times, to see what was possible. Case in point: we were shooting a shot from the last scene of the movie at a beautiful Bel Air home. Initially, Sacha, the director, had imagined shooting this on bright and sunny LA day. Unfortunately, we were stuck with slightly rainy overcast weather. Sacha came over to me to see how far we could 'push' the look towards what he had imagined. Instead of waiting for months to get into the DI, we were able to play with some looks right there on the spot in between setups. Having this type of color timing ability enables for in-the-moment creativity.”

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