A legendary talk show host employs a young scriptwriter and sparks fly in the new indie feature Late Night, premiering at the Sundance Film Festival. Written by and starring Mindy Kaling, and co-starring Emma Thompson, the set-up depicts them as poles apart in generation and culture, adding further twists in the comedy.
Cinematographer Matthew Clark on set.
The interplay between the two leads, as well as the desire to convey differences in the characters personalities and environment, led director of photography Matthew Clark to work closely with Panavision and Light Iron, who he had collaborated previously with on Set it Up and Little Evil.
Director Nisha Ganatra (Transparent) wanted to try and create as naturalistic a world as we could for the actors. That way, they would feel free to play around on set and location, explains Clark. I feel that with comedy especially, you want to allow your actors the freedom to move around physically and to improvise in order to find that true comic moment. So, we needed to keep our camera and lighting package small and our sets an open space. To be clear, we weren't aiming for the natural style of a documentary, but more of a heightened realism.
The film's three main locations are given a different tonal look. The parts of the story which cover Katherine's (Thompson) personal life at home in a town house in Brooklyn were given an elegant, rich, warm feel to which we added a little smoke haze to create some depth, notes Clark. The talk show studio (on a set in a Greenpoint Studio/Warehouse) was crisp and clean with a more neutral feel to it. The writers' room, which we shot in an office on the 17th floor in a building on Manhattan's east side, was given a cooler palette, more office or business-like.
Clark chose a Panasonic VariCam 35 to accommodate a tight budget and 25-day schedule. Sometimes, we had three or four locations a day. That means you have to move fast. I liked the ability to shoot at 5,000 ISO at night on location. I knew we would have a good base to start. Then, Ken Shibata (gaffer), Tommy Kerwick, Jr. (key grip) and I could use a minimal lighting package and still get our look while working at that speed.
For lens selection, he visited Panavision in Woodland Hills, and got his pick of 70s era Ultra Speeds and Super Speeds. Dan Sasaki presented me with two tables full of lenses from classic old Primos to new glass. I had the whole place to myself and was able to test shoot a lot of it.
Clark continues, I took the tests to Light Iron in Hollywood where colorist Corinne Bogdanowicz and I tried different looks, playing with saturation, shadows, highlights and even adding grain. That color prep really helped us move quickly and seamlessly when the production moved from L.A. to New York for principal photography where I collaborated with Light Iron NY colorist Sean Dunckley.
We tried out some pretty stylized filmic emulations, and then adjusted the levels of color in the blacks and highlights to create a more refined look, notes Bogdanowicz. The grain tests helped us add some subtle texture to the images.
Clark also worked with Light Iron Dailies Colorist Aaron Burns for a couple days to establish a LUT which Dunckley then finessed. I like to light for the LUT on location and I tend not to change it, says Clark, but if needed I will play around with it later. That's what Sean and I were able to do.
On finessing that LUT, Dunckley adds, I worked with Matt to create a LUT that was a bit more dynamic, pushing some cyan into the shadows and smoothing the skin tone colors. The LUT was used for dailies, and because Matt takes the time in pre-production to make the post process easy, we were a step ahead of the game when starting the DI.
Clark continues, One of the things you used to be able to do with film was pre-flash the raw stock. This opened up the blacks and allowed you to add color in the shadows depending on the percentage and color of the flash. It's a way to create an emotional effect. I wanted to do this digitally for our story. So, we mapped out the emotional change as we went through different scenes. The basic narrative arc is that the character's start out as individuals and wind up working together as a team. So, we start out with colder hues in the office, introducing a steely look in the shadows, and as the story moves forward we minimize blue for more rosy, warm tones with addition of some grain. There's a big juxtaposition between a scene in Katherine's bedroom, which is tonally rich, and the next day when she comes into the office and realizes she has to do something to get her job back. It's not a straight arc from blue to warm but changes according to the scene and context of the scene.
Lens choices included an 11:1 Primo Zoom the tried and trusted workhorse which is still beautiful and very creamy, Clark says. The older glass he chose helped break down the digital image in the way he wanted. The coating on the 40 delivers a warm glow which we mostly used for Katherine's personal world while several of the lenses had this rainbow flare which I felt gave us something different. These lenses are not perfect' which makes them perfect for this film. The aberrations, the older coatings, and the glass itself is less precise than most contemporary lenses and gives the digital image a softer look with more personality.
The two-camera, 4K production was lensed mostly on tripods and dollies with some Steadicam and occasional handheld.
A lot of the time, we were shooting close to wide open, maybe 2-2.8. That's hard on a 100mm with minimal lighting, so all credit to my A camera AC Pedro Corcega and B cam Adriana Brunetto-Lipman. Pulling focus on a Steadicam moving through a party is not for the faint-hearted. If you don't have tale
Most recent headlines
05/01/2027
Worlds first 802.15.4ab-UWB chip verified by Calterah and Rohde & Schwarz to be ...
01/06/2026
January 6 2026, 05:30 (PST) Dolby Sets the New Standard for Premium Entertainment at CES 2026
Throughout the week, Dolby brings to life the latest innovatio...
02/05/2026
Dalet, a leading technology and service provider for media-rich organizations, t...
01/05/2026
January 5 2026, 18:30 (PST) NBCUniversal's Peacock to Be First Streamer to ...
06/04/2026
Michigan legends bring a new voice to the broadcast as TNT Sports and CBS Sports...
06/04/2026
From high school sports all the way up to the major leagues, building high-quali...
06/04/2026
Quickplay, an AI company for the media and entertainment industry, has been accepted into the Advanced tier of the TwelveLabs Ecosystem Partner Program. Quickpl...
06/04/2026
Grass Valley has announced the Future Playmakers Program, a global initiative to...
06/04/2026
El l der de operaciones impulsa la producci n en estudio mientras encuentra insp...
06/04/2026
The ops leader helps lead the charge in studio for the Spanish-language broadcas...
06/04/2026
Behind The Mic provides a roundup of recent news regarding on-air talent, includ...
06/04/2026
The National Hockey League (NHL), in partnership with Verizon and the New Jersey Devils, today announced the opening of the NHL Innovation Lab powered by Verizo...
06/04/2026
Rock League, a new professional curling league, has announced that ESPN+ will stream its inaugural 2026 season for fans in the United States. The first Rock Lea...
06/04/2026
Advanced Systems Group has announced the appointment of Andrea (Andy) Cummis as Vice President of Systems Design and Engineering. In this role, she will lead de...
06/04/2026
Backed by Bolt Ventures, the venture brings Bryson DeChambeau, Grant Horvat, and...
06/04/2026
With this environment we can start that collaboration even earlier because we ca...
06/04/2026
Like the immortal lives of vampires, some stories never really end. That's t...
06/04/2026
As podcasting continues to evolve, growth increasingly means building beyond aud...
06/04/2026
Multiband dynamics plug-in enhanced
California-based developer FSK Audio have released a significant update for their innovative multiband dynamics processo...
06/04/2026
Share official & user-created full-rig presets
IK Multimedia's latest TONEX update makes it possible for users of the popular amp and effects modelling ...
06/04/2026
Share
Copy link
Facebook
X
Linkedin
Bluesky
Email...
06/04/2026
Share
Copy link
Facebook
X
Linkedin
Bluesky
Email...
06/04/2026
Dalet Showcases Dalia Agentic AI and End-to-End Media Workflows at NAB Show 2026
Brie Clayton April 6, 2026
0 Comments
Dalet, a leading technology and...
06/04/2026
OpenDrives Shows Off Sports Expertise in Sports Business Hub located in NAB Show...
06/04/2026
Proton to Demonstrate 3D Application at NAB 2026
Brie Clayton April 6, 2026
0 Comments
Yet further creative potential unleashed through innovation in ...
06/04/2026
Autoscript Highlights Voice-Driven Prompting and PTZ Solutions at NAB 2026
Brie Clayton April 6, 2026
0 Comments
Experience Autoscript Voice, PTZ prom...
06/04/2026
Mediaproxy Highlights Significant Enhancements to its LogServer suite at NAB Sho...
06/04/2026
Wayne, N.J., April 6th, 2026 Phantom High-Speed announces the release of PCC 4...
06/04/2026
April 6th, 2026
TRIBECA STUDIOS AND LILLY ANNOUNCE WINNERS OF INAUGURAL VITAL...
06/04/2026
Back to All News
Netflix Expands Kids Entertainment Lineup With Playground App ...
05/04/2026
Tackles all reported bugs!
SoundBridge have just announced the launch of a new update that introduces a couple of minor changes to their remote collaboratio...
04/04/2026
The University of Arizona's Men's Basketball team has only loss twice th...
04/04/2026
1080p HDR arrives, a new generation of storytelling tools takes center stage, an...
04/04/2026
Michigan legends bring a new voice to the broadcast as TNT Sports and CBS Sports...
04/04/2026
Faster, cleaner and more intuitive than ever
The control software for Flock Audio's digitally controlled patchbay systems has just been treated to an up...
04/04/2026
Share
Copy link
Facebook
X
Linkedin
Bluesky
Email...
04/04/2026
Share
Copy link
Facebook
X
Linkedin
Bluesky
Email...
04/04/2026
Share
Copy link
Facebook
X
Linkedin
Bluesky
Email...
04/04/2026
Share
Copy link
Facebook
X
Linkedin
Bluesky
Email...
04/04/2026
DHD Introduces AI-Based Audio Noise Reduction to XD3 IP Core
Brie Clayton April 3, 2026
0 Comments
The accompanying image shows the rear panel of the ...
04/04/2026
Macnica Redefines ST 2110 Flexibility with Two Speeds on One Card
Brie Clayton April 3, 2026
0 Comments
New for NAB Show 2026, MEP100 SmartNIC now sup...
04/04/2026
Unified Media Workflows for Story-Centric Production
Brie Clayton April 3, 2026
0 Comments
Framelight X unifies field capture, editing and publishing ...
03/04/2026
Michigan's Fab Five will reunite for an alternate presentation of the Mich...
03/04/2026
Avid will exhibit at NAB Show 2026 (April 18-22, Booth N2226, Las Vegas Convention Center), demonstrating its Content Core platform and new AI-driven workflow c...
03/04/2026
Mark Roberts Motion Control (MRMC) has announced the appointment of Nick Barthee as Chief Operating Officer.
The announcement follows MRMC's transition fro...
03/04/2026
Interra Systems has announced that Elite Media Technologies has selected its BATON file-based QC solution for media workflows. Elite Media Technologies speciali...
03/04/2026
Ateme has announced that Moldtelecom has deployed Ateme technologies across its streaming workflow, covering encoding, delivery, operations, and analytics.
Mol...
03/04/2026
Grass Valley will demonstrate Framelight X, its content management platform, at NAB Show 2026. The platform connects capture, ingest, editing, and publishing in...
03/04/2026
Encompass Digital Media and Techex have announced a cloud-native Master Control ...
A legendary talk show host employs a young scriptwriter and sparks fly in the new indie feature Late Night, premiering at the Sundance Film Festival. Written by and starring Mindy Kaling, and co-starring Emma Thompson, the set-up depicts them as poles apart in generation and culture, adding further twists in the comedy.
