The captivating and vivid colors of Barbie’s world earned Yvan Lucas of Company 3 the prestigious FilmLight Color Award for a theatrical feature. This recognition was bestowed during the EnergaCamerimage cinematography film festival in Toruń, Poland, as part of the third annual awards organized by FilmLight in collaboration with Camerimage. From a pool of around 400 entries, the honorees were selected by a distinguished jury led by Oscar-nominated cinematographer Lawrence Sher, known for his work in films like “Joker” and “Joker: Folie à Deux.”
The award-winning work on Barbie, directed by Greta Greig and with cinematography by Rodrigo Prieto, was a collaborative effort between the creative minds involved in the production. Lucas shared, “Rodrigo Prieto and I both like to work together on the overall look of a film before production starts. Creating LUTs (Look Up Tables) that define the way color and contrast will be affected helps Rodrigo, the director, and the department heads all work towards a common goal.” In particular, for scenes set in Barbie Land, a LUT was developed that combined an overall film emulation, a three-strip Technicolor look, and specific ways of interpreting vibrant hues such as red, pink, and blue.
In addition to the award given for Barbie, other talented individuals were also recognized. Dirk Meier at D-Facto Motion won for “The Pimp: No F***ing Fairytale (Luden) season one,” while Tim Masick at Company 3 claimed the prize for Zara Man, ‘SS23’ in the commercial category. Freelance colorist Marina Starke was acknowledged for Mayyas ‘Horra’ in the music video category, and Cem Ozkilicci received the Spotlight award for “Possession.” The recipients shared their hope for more diversity and collaboration within the field of color grading.
The significance of the colorist in the art of filmmaking was also emphasized by Lawrence Sher, who expressed his admiration for the diversely talented artists involved in the awards. He highlighted that good work isn’t limited to huge budgets or big shops, but is available to everyone with a good eye and refined skills.
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Support for the Color Awards also came from esteemed organizations such as the American Society of Cinematographers and the British Society of Cinematographers. Stephen Lighthill, a member of the jury and past president of the ASC, praised the collaborative nature of the relationship between cinematographers and colorists and reiterated the support of the ASC for events like the Color Awards.
The event ultimately celebrated the important role of colorists in the filmmaking process and served as a platform to recognize and encourage the diverse talents within the industry. The excellence demonstrated by the award winners reaffirms the critical importance of the colorist in the creative and technical aspects of cinematic production. It also highlights the need for continued collaboration and support across various disciplines within the filmmaking community.
