
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
05/01/2027
Worlds first 802.15.4ab-UWB chip verified by Calterah and Rohde & Schwarz to be ...
04/08/2026
Dalet, a leading technology and service provider for media-rich organizations, t...
04/07/2026
April 7 2026, 19:00 (PDT) Detective Conan: Fallen Angel of the Highway Opens in...
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...
15/05/2026
Join Calrec at MPTS 2026 | May 13-14 | Stand A40 | Olympia, London We're looking forward to meeting up with customers and partners at this year's Media ...
15/05/2026
86% of media planners would move more linear TV budget to CTV if they had show-level targeting and reporting - and 65% would also shift dollars from programmati...
15/05/2026
Share
Copy link
Facebook
X
Linkedin
Bluesky
Email...
15/05/2026
Clear-Com will showcase new communications solutions and major platform updates at InfoComm 2026 (Booth N7005), June 17-19, in the North and Central Halls of t...
15/05/2026
Following an outstanding inaugural year in 2025, Rise AV is proud to announce the return of its flagship leadership initiative, Elevate. The programme continues...
15/05/2026
Berklee Announces Lineup for Inaugural AI Music Summit The three-day event puts musicians at the center of the future of music creation, ethics, and the indus...
15/05/2026
Lightware returns to InfoComm 2026 with a focused showcase of scalable USB-C connectivity, next-generation AV-over-IP solutions, and technologies that help over...
15/05/2026
Share
Copy link
Facebook
X
Linkedin
Bluesky
Email...
15/05/2026
Share
Copy link
Facebook
X
Linkedin
Bluesky
Email...
15/05/2026
Share
Copy link
Facebook
X
Linkedin
Bluesky
Email...
15/05/2026
Share
Copy link
Facebook
X
Linkedin
Bluesky
Email...
15/05/2026
Share
Copy link
Facebook
X
Linkedin
Bluesky
Email...
15/05/2026
Delivering a live, arena-scale production of a massively popular band is no small feat. Between expansive in-arena LED walls and a global live stream fed to onl...
15/05/2026
Connection is the heartbeat of any strong community, and with live streaming becoming more accessible in the modern era, it's much easier for faith-based or...
15/05/2026
Powered by GX 3 media servers, optimised IP-VFC workflows and on-site engineering expertise, the production delivers high-performance visuals for one of the wor...
15/05/2026
Against that backdrop, IAB UK has added retail media to its Gold Standard. Jan Pitt, Commercial Director at ABC, spoke with Liv McCullagh, Retail Media Lead at ...
15/05/2026
Further to RT 's statement released yesterday and in the interest of full transparency, with the full permission of Derek Mooney, we are now publishing the ...
14/05/2026
Sweetwater and Airstream have announced a custom-built Dolby Atmos mobile recording studio inside an Airstream trailer, set to tour music festivals, schools, tr...
14/05/2026
The American Association of Professional Baseball (AAPB) has announced a new par...
14/05/2026
ESPN has announced plans to transform Santa Monica Beach into a broadcast hub du...
14/05/2026
Amagi has announced a significant update to Amagi CLOUDPORT, its cloud-based broadcast playout platform. The update includes 250-plus features shipped in FY25-2...
14/05/2026
Clear-Com will exhibit at InfoComm 2026 (Booth N7005, June 17-19, Las Vegas Convention Center), introducing a new product that builds on Arcadia Central Station...
14/05/2026
Ikegami will exhibit at BroadcastAsia 2026 (Stand 5D3-1, Singapore Expo, May 20-22), introducing two new viewfinders alongside its existing camera, control, and...
14/05/2026
Grass Valley has announced that dB Broadcast has delivered new IP-based outside ...
14/05/2026
NAGRAVISION, a Kudelski Group company, has announced a partnership with the World Professional Billiards and Snooker Association (WPBSA) to launch Play Snooker,...
14/05/2026
Belden Inc. has announced a definitive agreement to acquire RUCKUS Networks from Vistance Networks for approximately $1.85 billion. The transaction has been app...
14/05/2026
NVIDIA has released the Content Localization Blueprint, a modular reference arch...
14/05/2026
Disney has announced that Disney will be the exclusive U.S. streaming home of the Banana Bowl, the Banana Ball league season championship, streaming live this ...
14/05/2026
Arkona technologies and technology partner manifold will demonstrate their production solutions on the Magna Systems and Engineering stand (Booth 5D1-1) at Broa...
14/05/2026
Haivision will host a webinar on Thursday, May 21 at 10 a.m. ET / 4 p.m. CET cov...
14/05/2026
The CW Network and ESPN have announced a sublicense broadcast agreement for The CW to televise ACC football and men's and women's college basketball gam...
14/05/2026
The agreement marks Scripps Sports' first NBA local rights deal...
14/05/2026
A new report from education-technology company Wiingy testing post-ChatGPT predictions against three years of real-world data has identified broadcasting as one...
14/05/2026
Global Citizen and FIFA have announced that Madonna, Shakira, and BTS will headl...
14/05/2026
LOS ANGELES, CA, May 14, 2026 - The nonprofit Sundance Institute announced today the cohort selected for the 2026 Episodic Lab program, taking place at Dunaway ...
14/05/2026
At Spotify, we're focused on making every listening experience feel intentio...
14/05/2026
Spotify recently welcomed songwriters, artists, executives, and music students t...
14/05/2026
New articulations, ostinatos, Motion Scoring Articulation Sets & more
Sonuscore's flagship cinematic string library has just been treated to a significa...
14/05/2026
World-class studio opens on T rkiye's Aegean coast
P r Recording & Residence have announced their official opening, introducing a new world-class reside...
14/05/2026
Now supports channel layouts up to 9.1.6
Nugen Audio have just released an update for their AI-powered dialogue intelligibility and compliance tool. Set to ...
14/05/2026
New recordings & one-key chord tool
UVI have just announced the release of Orchestral Suite 2, a ground-up redesign of their all-in-one symphonic orchestra ...
14/05/2026
Two new arrivals & expanded factory content
Rob Papen's all-encompassing plug-in and virtual instrument collection has just been treated to another upda...
14/05/2026
Embed QR codes into DAW sessions
FSK Audio's latest plug-in doesn't process audio, but serves as an organisational tool that allows QR codes to be e...
14/05/2026
SBS Board appoints Jane Palfreyman Managing Director
13 May, 2026
Media releases
The Special Broadcasting Service (SBS) Board of Directors is pleased to an...
14/05/2026
Transforming bold ideas into market-ready productions: Digital Originals returns
14 May, 2026
Media releases
SBS, NITV and Screen Australia have announced ...
14/05/2026
Australia Uncovered Returns to SBS with Bold New Season Featuring John Safran on...