Cinematographer James Laxton speaks to The Film Stage about his work on the critically acclaimed film Moonlight, including how important the DIT process was to the film’s final look.
“It’s interesting — especially today, when so much of what we do is shot digitally — to find a way to make your images, and this is a terrible word to use, ‘special,’ or ‘unique,'” he says. “The DI process plays a heavy role. In decades previous, you would pick film stocks, maybe process them differently, or cross-process; maybe pull two stops or push two stops. All these things you were able to embed in the image of the negative of the image — such a deep look — and so, today, when we have cameras… like, for example, we shot on the Alexa, which is a fantastic camera. It’s something that we chose to use on Moonlight. We went into Moonlight knowing full well that the DI process was going to be a very special and important process for us. Shooting digitally, that’s the moment when you get to really be bold and make large decisions — in terms of color, obviously.”
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