When cinematographer Zach Kuperstein got the job to shoot writer-director Zach Cregger's horror feature Barbarian, one of the first things he did was reach out to Light Iron senior colorist Sam Daley. The two had previously worked together on a short and three independent features The Eyes of My Mother, The Vigil and Paper Spiders but their collaborations began during post, not during preproduction. For Barbarian, Kuperstein was able to shoot tests and then work with Daley from the start to create a shooting LUT that would match Cregger's vision for this mind-bending story of a girl (played by Georgina Campbell) who arrives at a house she's booked for the night only to discover a young man (Bill Skarsg rd) has also rented it.
To give Daley an idea of what he and Cregger wanted, Kuperstein assembled a short look book of photographic references that defined the movie's tone and mood. The book included stills from the features Prisoners, Gone Girl and Sicario for night interiors, It Comes at Night for flashlight scenes, and American Beauty and Pleasantville for a 1980s flashback sequence. Texturally we tried to keep it limited, the cinematographer explains. It wasn't too built-out or complicated. I find it best to keep the references really tight because otherwise it's hard to articulate exactly what it is about each image that is related to the color.
Barbarian is set in Detroit but was shot in Bulgaria, where infrastructure limitations made it difficult to reliably share footage from set with Daley in New York. So, Daley explains, Zach came up with a lo-fi way for us to exchange images and LUTs. He would shoot a test, and instead of sending me terabytes of files to look at, he would send me high-quality DPX still frames, which he could easily email or put up on WeTransfer or Dropbox.
Kuperstein was grateful for Daley's partnership throughout this testing phase. It was great to get Sam's eyes on the footage and his guidance on where we could or where we shouldn't push the camera, he says. We shot with the Sony Venice, which I hadn't used before, so I was like, Can I go to 5,000 ISO? Can I go to 10,000 ISO?' And Sam said, Don't go to 10,000 ISO, but go to 5,000 if you need it.' His guidance was super-helpful, and paired with the test footage, it made for a robust LUT that we could use to shoot everything.
The shooting LUT Daley provided was set for a color temperature of 4300 Kelvin, approximately halfway between tungsten and daylight, giving Kuperstein the ability to use the LUT in any type of lighting situation. It was just something to get in the ballpark while Zach was on location in Bulgaria and working really quickly, Daley says. When we circled back after the edit to do the final color, I came up with another series of looks, and it was ultimately Zach Cregger, the director, who decided which of the looks he preferred.
Kuperstein and Daley kept their lines of communication open throughout principal photography. I usually don't work with a DIT on set, or somebody live-grading, or somebody else judging exposure with me, the cinematographer says. Having Sam to bounce that off of throughout the production was really helpful. He helped me make sure the exposure was giving us a lot more depth in the shadows, which I'm glad we had.
Both on set and in the final grade, Kuperstein always strove to keep the lighting tethered to reality. My approach is very much about motivated lighting, he says. I try to find whatever sources are in the room or in the space that make sense for the scene. At times those could be sodium-vapor streetlights outside, tungsten or fluorescent lights inside, or a mix. From a lighting perspective, it's often about keeping something bright in the background so you can make the rest of the image dark you can get away with it being darker if there are highlights in the image. Then, in the grade, you're making sure you aren't losing those highlights and are bringing out that contrast wherever possible.
Similar to what Zach says about motivating light sources, that's what I always do, Daley says of his process. It's got to feel real so that somebody is going to watch and be engaged in the story. Then I flavor it with whatever's going on and create mood with contrast or a slight hue change to help tell the story through color and contrast choices.
For the color grade, Kuperstein and Daley worked together in person at Light Iron New York while Cregger split his time between Light Iron's New York and Los Angeles locations. Based on the locked picture in combination with Kuperstein and Cregger's notes, Daley began by offering a range of looks for the filmmakers' consideration. One option offered a grainy, bleach-bypass, cross-processed look; another was much more subdued and classical in style, with a Kodak film feel. The opportunity to see the opposing looks helped Kuperstein and Cregger make their choice. I'm glad we got to see the extreme look even if it wasn't the direction we went with, the cinematographer reflects. It was good to test the waters with that and see how Zach responded to it. He reminded us that we weren't trying to tip our hand too early and that we needed to play it more neutral. When we saw the Kodak look that Sam put on it, the colors just popped into life and the whole film felt fresh.
With the film look they landed on in the final grade, Daley adds, We did deviate a little bit from what we had in the testing. But it wasn't a very assertive film look. It was more subtle.
The overall palette for the interior of the house tended toward the warmer range of the spectrum. I like to look at the color palette of the production design and see what I can lean into, shares Daley, who graded the project wi
Most recent headlines
11/12/2025
Dalet, a leading provider of cloud-native, end-to-end media workflow solutions, ...
19/11/2025
Sphere Sound Kicks Up Its Heels at Radio City Music HallUltra-immersive system from the singular Las Vegas venue is also ready for sportsBy Dan Daley, Audio Edi...
19/11/2025
The Future of Stadium and Arena Video Control Rooms: Tech Leaders Talk 4K, IP, a...
19/11/2025
One Year at Intuit Dome: Walking Through the Stunning Arena's Advanced Video...
19/11/2025
SVG Sit-Down: IMG's Francois Westcombe Goes Inside IMG's Annual Digital ...
19/11/2025
Inside Brighton & Hove Albion's fan-first media machine By George Bevir
Tuesday, November 18, 2025 - 10:10
Print This Story
Brighton & Hove Albion'...
19/11/2025
Rock Chalk Rebuild, Part 1: Kansas Athletics Brings New Production Power to Rebu...
19/11/2025
Rock Chalk Rebuild, Part 2: A Pro's Guide to Kansas Athletics' New Video...
19/11/2025
MLB Media Rights Shakeup: NBC Inks Three-Year Deal for Sunday Night Baseball, Pe...
19/11/2025
Rohan Parashuram Kanawade attends the premiere of Sabar Bonda (Cactus Pears) at the 2025 Sundance Film Festival at Egyptian Theatre on January 26, 2025, in Pa...
19/11/2025
Awards season is heating up, and the International Documentary Association just ...
19/11/2025
Aerojet Rocketdyne President Ken Bedingfield and Arkansas Gov. Sarah Huckabee Sanders were joined by state and local officials to celebrate the groundbreaking o...
19/11/2025
L3Harris and PentenAmio formalise their teaming agreement at MilCIS 2025, streng...
19/11/2025
Calrec gives Phoenix Broadcast Solutions its full support in strategic multi-year enterprise partnership New Singapore OB company invests in Calrec technology f...
19/11/2025
October brings a larger audience in front of TV screens. The cooler autumn weather and the continuation of new programming schedules brought increases in both t...
19/11/2025
IRVING, Texas Nexstar Media Group and Tegna filed applications on Nov. 18 with the Federal Communications Commission (FCC) seeking its consent to transfer broad...
19/11/2025
Vitec has acquired Datapath, a developer of real-time video processing for large-scale video walls, AVoIP content distribution and KVM control in mission-critic...
19/11/2025
NEVADA CITY, Calif. Telestream has introduced ARGUS Version 2.3, which introduces Live Look, a feature that lets operators inspect live and on-demand streams vi...
19/11/2025
STAMFORD, Conn. and NEW YORK Charter Communications, Inc. has announced a major deal with Amazon Web Services (AWS) that establishes AWS as one of Charters stra...
19/11/2025
TOKYO Atomos has announced a major firmware update that brings integrated camera control to the Ninja TX GO and Ninja TX its new CFexpress-based monitor-recor...
19/11/2025
Berklee's Signature Series Reimagines the Musical and Visual Artistry of Col...
19/11/2025
PlayBox Neo departed the NAB Show New York 2025 on a high note. The company's all-new PlayBox Neo Suite made a splash on the show floor, drawing strong inte...
19/11/2025
AAVBR (American Audio Visual Baton Rouge), a leading full-service event production company serving Louisiana and the Gulf Coast region, has enhanced its product...
19/11/2025
In its mission to deliver live event services combining advanced engineering with a creative approach to captivating live sports and entertainment experiences, ...
19/11/2025
NEW YORK Short-form vertical video has exploded across platforms like TikTok, Instagram and YouTube, but a new survey commissioned by Media.net, a provider of c...
19/11/2025
NEW YORK YES Network, the regional sports network home of the New York Yankees and Brooklyn Nets, and CAMB.AI have struck a partnership they said will leverage ...
19/11/2025
WASHINGTON The Federal Communications Commission has issued detailed guidance on filings that were disrupted by the government shutdown. While many of those fil...
19/11/2025
NEW YORK The popularity of NFL games is largely responsible for continued seasonal momentum in TV viewership into October (measured Sept. 29-Oct. 26), according...
19/11/2025
DirecTV has announced that its MyFree DirecTV streaming service has added seven new channels. Those include four sports services, NBA FAST, Red Bull TV, DAZN Ri...
19/11/2025
SURREY, U.K. Mark Roberts Motion Control (MRMC) has launched Flair Bridge, a compact device that transforms how operators control the company's motion-contr...
19/11/2025
WASHINGTON The Federal Communications Commission, which is continuing to rapidly ramp up its operations after the end of the federal government shutdown, has se...
19/11/2025
IRVING, Texas Nexstar Media Group and Tegna filed applications on Nov. 18 with the Federal Communications Commission (FCC) seeking its consent to transfer broad...
19/11/2025
Martin Freeman, Jessie Buckley, Wu-Tang Clan's Raekwon, Eddie the Eagle and ...
19/11/2025
Rohde & Schwarz collaborates with Broadcom to enable testing and validation of n...
19/11/2025
Back to All News
Innato, starring Imanol Arias and Elena Anaya, arrives on Netf...
19/11/2025
Back to All News
Guillermo del Toro Sits Down With Troll 2 Director Roar Uthaug...
19/11/2025
Some projects feel monumental from the moment the first phone call comes in. When BCE, the host broadcaster appointed to coordinate the national coverage, asked...
19/11/2025
November 19 2025, 08:00 (PST) BAY AREA HOST COMMITTEE AND DOLBY PARTNER TO DELIVER IMMERSIVE FAN EXPERIENCES
During the Week of Football's Biggest Game...
19/11/2025
Michael D. Higgins: Ireland's Ninth President features RT Archives footage and interviews across seven decades
Watch Wednesday 19 November at 9:35pm on RT...
19/11/2025
Scripps Research scientists receive $1.1 million to advance AI modeling for HIV vaccine development New AI system helps scientists rapidly pinpoint the most pro...
18/11/2025
Independent media across Central America are operating under intensifying financial pressure, yet there is a clear appetite for models that can sustain both ind...
18/11/2025
NBA Debuts New Comms Infrastructure and Systems for RefereesTwo-phase rollout is intended to improve game flow, enhance officiating accuracyBy Dan Daley, Audio ...
18/11/2025
Platinum White Paper: How Aggreko Delivers Certainty For Broadcasters On The Wor...
18/11/2025
Kiswe Extends DTC Products With Kiswe Core Cloud-Based Tool for Distributing Con...
18/11/2025
Spanish Basketball Federation partners with ScorePlay to power digital transform...
18/11/2025
HBS selects BBright encoders and decoders to connect ST 2110 live production wor...
18/11/2025
Ashes to Ashes: Inside TNT Sports' hybrid and maverick' production plan...
18/11/2025
SVG All-Stars: Mimi Fotopoulos, Director, Talent and Production Operations, Tenn...
18/11/2025
SVG LIVE! Conference Explores the Tech Side of Sports and Entertainment ConvergenceLive sports and music productions increasingly share gear and infrastructureB...
When cinematographer Zach Kuperstein got the job to shoot writer-director Zach Cregger's horror feature Barbarian, one of the first things he did was reach out to Light Iron senior colorist Sam Daley. The two had previously worked together on a short and three independent features The Eyes of My Mother, The Vigil and Paper Spiders but their collaborations began during post, not during preproduction. For Barbarian, Kuperstein was able to shoot tests and then work with Daley from the start to create a shooting LUT that would match Cregger's vision for this mind-bending story of a girl (played by Georgina Campbell) who arrives at a house she's booked for the night only to discover a young man (Bill Skarsg rd) has also rented it.
