In the latest episode of Variety Artisans presented by HBO, “High Fidelity” cinematographer Carmen Cabana explains how she used color to capture character emotions and how she set up different…
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
In the latest episode of Variety Artisans presented by HBO, “High Fidelity” cinematographer Carmen Cabana explains how she used color to capture character emotions and how she set up different scenes of the series.
“I found that the poetry and the opportunity in the show presented itself in terms of colors,” said Cabana. “Because when it comes to love and emotion everything is hyper-inflated.”
The series, starring Zoë Kravitz follows the story of Rob, a major music fan and record-store owner who grapples with trying to get over past relationships. Inspired by both the novel and the 1995 movie of the same name, Cabana wanted to establish her own look inspired by Champion Vinyl’s new home in Brooklyn.
While shooting in different locations for the show, Cabana explained how she altered the colors to mimic the greens and yellows of the neon street signs to the mercury blues of the fluorescent-lit storefronts.
“Even though a lot of the real locations didn’t have those real colors,” said Cabana, “because they were a little bit in the shade or etc., we were able to bring and plant those things in, so that it would still bring justice to the neighborhood.”
For example, she explained why she limited the color yellow for Rob’s character throughout the series and used it more during the final episode.
“Yellow is a color of caution as well as energy, it’s a color of happiness, it’s a color of hope,” she said. {Rob] knows the men around her at that point know she is a character to be treated with caution, but also she is full of intimacy and life. She wants to move forward.”
She went on to break down how she set up one of Rob’s scenes that was filmed outside in Brooklyn, NY.
“In the first example when you see [Rob] waiting outside of the bar and she’s smoking a cigarette at the construction site we put all the light bulbs there and all the buildings in the background we lit that across the street..It was important for me to show the texture and the style.”
Watch the full conversation above.