Now streaming on Netflix, Good Grief marks the feature-film directorial debut of Daniel Levy, well known as the co-creator and costar of the series Schitt's Creek. Offering an uplifting perspective on dealing with the permanence of losing a loved one, Good Grief follows Marc (played by Levy), who was content living in the shadow of his larger-than-life husband, Oliver (Luke Evans). But when Oliver unexpectedly dies, Marc's world shatters, sending him and his two best friends, Sophie (Ruth Negga) and Thomas (Himesh Patel), on a soul-searching trip to Paris that reveals some hard truths they each needed to face. Cinematographer Ole Bratt Birkeland, BSC and gaffer Chris Dowling made each of their decisions with the aim of embracing these realities, and here the two collaborators discuss their approach to crafting the film's visual language.
Panavision London supplied the production's camera and lens package, and Panalux London provided lighting services. The filmmakers also worked with Light Iron for dailies and finishing services, including VFX and final color. Light Iron's VFX contributions included 3D tracking, reflection maps, motion vector mapping, rotoscoping, paint, and multi-layered compositing; in the final grade, Birkeland reteamed with supervising colorist Ian Vertovec. Supported throughout production and post, the filmmakers were free to skillfully explore the bright spots of bereavement.
Panavision: Ole, how did you become involved in this project?
Ole Bratt Birkeland, BSC: I read the script for Good Grief and thought it was a really lovely project about coming to terms with difficult emotions and life situations. When I then met Dan, it was brilliant to hear his ideas and how he had a personal connection to the story and feelings expressed. We had many similar thoughts on how film can be a way of releasing complicated thoughts and give a release to ideas that are otherwise hard to process.
How did Daniel Levy describe what he had in mind for the project's visuals?
Birkeland: Dan was interested in exploring something real that had a sense of warmth towards our characters. One of the ways we approached this was to make sure the camera focused on the characters at all times but also had a feeling of not being static. It is subtle, but almost everything is handheld or Steadicam throughout.
Were there any specific references or inspirations that informed your lighting approach?
Chris Dowling: These were more discussed with mood boards and color tones rather than directly referencing stills from films. It's good to get a clear picture of how you see the look, but I think you can easily blur the lines if you copy others. I prefer to get a guide and discuss these things without referencing films if I can. There is a world of things out there that can help, like fashion, art, music, books, photos, scenery and landscapes. If you reference a film, then it's already been done, and where is the challenge in that? Taking a still image or a piece of artwork and translating that into a moving image, and making that work, is the challenge.
Chris, how would you describe the lighting style you, Ole and Daniel were trying to achieve?
Dowling: Enhanced natural.' I'm not a big lover of obviously lit scenes within this kind of narrative, and Ole is very much of the same mind, but with this particular project, in order to show the journey the characters go on, we needed to slightly extend the spectrum. So, when we needed a warm, happy scene, we went slightly past the normal warm and organic tones, and likewise when it was a cold, sad scene, we took it slightly colder and bleaker, enhancing the change.
The lighting setups had huge restrictions in each of the locations, so we knew we needed to allow the lighting to be as fluid as possible to enhance the mood within each scene. The only thing we tried to maintain was as low a carbon footprint as possible throughout the project. Wherever possible, we used the latest LED fixtures to try to keep the times we used a generator to an absolute minimum. We are at a point now in the industry where we can really start to make a difference. Having the newest tech also allowed us to have a huge amount of control at our fingertips. This gave us the advantage of speed as well as fine-tuning whilst the shot developed.
Did you have a favorite lighting setup on the production?
Dowling: My favorite lighting setup normally ends up being the one that caused the most issues and headaches. Those are the ones that test you and push you forward. Being able to solve the issues and sell that it was done easily is very satisfying. On this project, I would say it was the studio shoot. We were in a tiny studio in the back of Acton, with no height, no space, no rigging, no mains. It really was a challenge given the scale of the sets required in it the Paris bedroom scenes were shot there. We needed two lighting setups as well as a Translight, and the set had huge windows. When I saw that on the screen, I thought, Yes, we smashed that.' The lighting and Ole's clever use of lens and camerawork absolutely shows how it should be done. Even with huge limitations, you can achieve amazing results.
Ole, you'd worked with Ian Vertovec at Light Iron before Good Grief. How has that relationship and collaboration evolved over time?
Birkeland: The first time I worked with Ian was on Tales From the Loop. He did such an amazing job on that, so when it came time to grade Good Grief, I jumped on the opportunity to work with him again. He has such a beautiful eye and a great sense of story. It was brilliant to have his expertise to fine-tune the visuals. We are currently doing it again for another movie, and it's very exciting to keep exploring ideas with him.
How does this project differ from others in your respective careers?
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...
12/05/2026
Beyond the Hype: A Strategic Post-Hoc Analysis of NAB 2026 If NAB Show 2026 had an underlying theme, it was a quiet, industry-wide pivot from the high-energy sp...
12/05/2026
Guntermann and Drunck (G&D), a Panoptec Technologies Group company, and CT Square, led by Chandresh Shah, have announced a joint venture to distribute G&D and V...
12/05/2026
With 30 days until the start of the FIFA World Cup 2026, Telemundo, the exclusive Spanish-language home of the tournament in the United States, has announced th...
12/05/2026
The NHL has announced the return of Stanley Pup for its third consecutive year, a 90-minute special featuring adoptable rescue dogs competing on a miniature rin...
12/05/2026
NBCUniversal presented its 2026 Upfront to advertisers at Radio City Music Hall, detailing upcoming programming across NBC, Peacock, Bravo, and Versant properti...
12/05/2026
FOX Sports has announced funding for the Fandom and Social Connection Initiative at Harvard Kennedy School's Shorenstein Center on Media, Politics, and Publ...
12/05/2026
TNDV and Live Media, both divisions of Live Media Group, supported live broadcast coverage around NCAA Final Four weekend in Indianapolis, including the March M...
12/05/2026
The European Football Alliance (EFA) has announced a content distribution agreement with Fubo Sports Network, the free ad-supported streaming TV (FAST) channel ...
12/05/2026
For the first time, Spanish-speaking fans in the U.S. will have two separate tel...
12/05/2026
CP Communications led a comprehensive spectrum management initiative on behalf of Churchill Downs during Kentucky Derby week, coordinating RF assets across the ...
12/05/2026
LiveU has announced a strategic partnership with DRONERESPONDERS, a 501(c)3 non-...
12/05/2026
Open Broadcast Systems has announced that BMC TV, a specialist in IP transport of broadcast content, has selected the Open Broadcast Systems 5G Flyaway solution...
12/05/2026
NEP Europe, part of NEP Group, has announced it will deliver broadcast solutions...
12/05/2026
Grass Valley has announced continued collaboration with Ravensbourne University ...
12/05/2026
Stats Perform has announced the launch of Opta Pulse, an AI-assisted video creation and distribution platform for leagues, rights holders, and broadcasters. The...
12/05/2026
FOX Sports has announced a collaboration with Sesame Workshop to integrate Sesame Street characters into FOX Sports' FIFA World Cup 2026 programming. Conten...
12/05/2026
To date, NHL Productions has produced 19 broadcasts with commentary in American Sign Language
NHL in ASL (American Sign Language) may be just one show, but the...
12/05/2026
Google's Brian Albert: creators, athletes, highlights, nostalgia, second-scr...
12/05/2026
A still from Past Lives by Celine Song, an official selection of the Premieres program at the 2023 Sundance Film Festival. (Courtesy of Sundance Institute | p...
12/05/2026
Spotify is where fans and artists come together, turning discovery into somethin...
12/05/2026
Features patented Marco-MMC clocking technology
Black Lion Audio's latest release combines the company's expertise in clocking with their renowned p...
12/05/2026
New Track Panel, sequencer upgrades & more
Following their recent public beta release, Reason Studios have announced the full release of Reason 14. With the...
12/05/2026
One month to go! SBS reveals expansive FIFA World Cup 2026 lineup beyond the pi...
12/05/2026
Rohde & Schwarz presents its advanced solutions for power electronics testing at...
12/05/2026
aconnic AG (ISIN: DE000A0LBKW6), Munich, has developed a modified fund raising p...
12/05/2026
Share
Copy link
Facebook
X
Linkedin
Bluesky
Email...
12/05/2026
Tyrell Corporation, specialists in high-end live sports and entertainment broadcasts, was tasked with delivering compelling broadcast coverage of premier equest...
12/05/2026
Registration is now open for IBC2026 as the global media, entertainment and technology community prepares to converge on the RAI Amsterdam from 11 14 September ...
12/05/2026
Ross Video, a global leader in live video production technology, will present its latest innovations and integrated production workflows at BroadcastAsia 2026, ...
12/05/2026
500 selected leaders from around the world across start-ups, corporates, and venture capital. Over 50bn in assets under management among attending investors, a...
12/05/2026
CVP, one of Europe's leading suppliers of professional video and broadcast solutions, has appointed Randy Koeman as Sales Manager, Netherlands, marking anot...
12/05/2026
Taiwan Television has expanded its HD content ingest workflow capabilities by investing in the PlayBox Neo Suite - a leading multi-channel multi-server UHD/HD/S...
12/05/2026
Jigsaw24 is strengthening its media team with the appointment of Tom Laker as Client Director and Ashish Chauhan as Project Manager. These strategic hires bring...
12/05/2026
Broadcast playout leader showcases hybrid IP infrastructure and workflow automation with Videoland deployment as regional benchmark...
12/05/2026
dzjinius, the all-in-one production management platform for the media and entertainment industry, will showcase its centralised approach to production workflows...
12/05/2026
Share
Copy link
Facebook
X
Linkedin
Bluesky
Email...
12/05/2026
Share
Copy link
Facebook
X
Linkedin
Bluesky
Email...
12/05/2026
Share
Copy link
Facebook
X
Linkedin
Bluesky
Email...
12/05/2026
Share
Copy link
Facebook
X
Linkedin
Bluesky
Email...
12/05/2026
NUGEN Audio will debut Version 1.1 of DialogCheck, its intelligent dialog intelligibility and compliance tool, at the 2026 Media Production & Technology Show (S...
12/05/2026
The reactive visuals can adapt to any stage or screen setup and comprise 50 layers of Notch content
Today, Disguise announced that its high performance GX 3 m...
12/05/2026
Snapgrid , Snapbag & Airglow Expand Creative Control for the ARRI Modular LED BarFollowing the launch of the ARRI Omnibar, DoPchoice introduces a dedicated li...
12/05/2026
May 12th, 2026 Press Materials Available Here
TRIBECA FESTIVAL UNVEILS 2026 GAMES PROGRAM
Tribeca Celebrates Its 25th Anniversary With World Premieres and Pl...
12/05/2026
May 12th, 2026 Press Materials Available Here
MADONNA BRINGS THE WORLD PREMIERE OF CONFESSIONS II TO 2026 TRIBECA FESTIVAL
The Global Icon Will Unveil a Cine...
12/05/2026
Customer demand for data continues to grow in the first quarter of 2026 at Magya...
Now streaming on Netflix, Good Grief marks the feature-film directorial debut of Daniel Levy, well known as the co-creator and costar of the series Schitt's Creek. Offering an uplifting perspective on dealing with the permanence of losing a loved one, Good Grief follows Marc (played by Levy), who was content living in the shadow of his larger-than-life husband, Oliver (Luke Evans). But when Oliver unexpectedly dies, Marc's world shatters, sending him and his two best friends, Sophie (Ruth Negga) and Thomas (Himesh Patel), on a soul-searching trip to Paris that reveals some hard truths they each needed to face. Cinematographer Ole Bratt Birkeland, BSC and gaffer Chris Dowling made each of their decisions with the aim of embracing these realities, and here the two collaborators discuss their approach to crafting the film's visual language.
