“[In HOMECOMING, directed by Sam Esmail and edited by Franklin Peterson] caseworker (Julia Roberts) who helps soldiers transition back to civilian life is interrogated by the Department of Defense after her former boss’s (Bobby Cannavale) ambitious demands raise suspicion.
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“Once the decision was made to shoot film, the discussion turned to black-and-white versus color. [Cinematographer Larkin Seiple] advocated for color, especially given the medium. “I think film renders color far better than any digital camera out there,” he says. ‘With film cameras, even if you underexpose, you still get a rich skin tone. There’s still information in the shadows to pull from. And with digital, it starts to fall off and become a patina, and the skin looks kind of corpse-like…. Donald’s skin looks great in the video, and there’s all these windows around which create lots of reflections, so we weren’t worried about highlights or overexposing. In fact, we tried to overexpose the image a bit more to make the grain tighter when we [brought] it down.'”
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