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Light Iron, Los Angeles, CA (2026)

01/19/2026

“Palm Royale Season 2 was incredible to work on,” says cinematographer Zachary Galler, who shot the second season of the stunningly campy show. “I was lucky enough to come into the job with much of the crew from season one, and they were superlative. Finding a balance between the technical and aesthetic demands of the show was tricky, but after extensive testing, we ended up going with the Panavision VAs for many reasons. They really threaded the needle for us with the gentle way they dealt with textures, while also being really even across the whole frame.

We did a few tests and I was able to develop a great LUT with Light Iron Supervising Colorist Ian Vertovec that got us very close to our aesthetic references, the strongest and clearest of which was Slim Aarons' travel photography. Abe Sylvia, the showrunner, had a very clear vision for how he wanted everything to feel, and I think the VAs and Ian's LUT got us right where we needed to be. Ian was also able to add many filmic elements to the image in our DI, and I love where we ended up. Panavision has always been a fantastic partner, and Mike Carter really helped us manage a very tricky and demanding shoot schedule that was frequently changing based on many factors, with multiple units shooting, mostly in LA, but also in Portland and Mt. Hood Oregon.”

01/14/2026

‘I Wish You All the Best’ was finished by Light Iron Supervising Colorist Ian Vertovec and Senior Colorist Ethan Schwartz. The film was shot by cinematographer Robby Baumgartner using Panavision PVintage lenses. 🎥

01/09/2026

Light Iron Senior Colorist Ethan Schwartz takes us behind the scenes on his work on the culminatory season of Power Book IV: Force.

“In this final season of Power Book IV: Force, we gave Tommy’s Chicago a dark and gritty feel,” says Schwartz. “To get that intense grit I felt that pushing in a more neutral skip bleach with clean black levels would help elevate this action packed season. It’s also important with that look that we didn’t desaturate too much, so I paid close attention to skin tone to get the saturation levels nicely balanced.”

01/08/2026

Come behind the scenes on the cinematography of The Lowdown with DP‘s Adam Stone and Mark Schwartzbard.

Stone, who shot the pilot and set the tone for the series, tells us, “The Lowdown pilot has a vibey, rough-hewn look – intentionally loose, energetic, and fun. We wanted the visuals to match the spirit and momentum of the script. We drew inspiration from the classic noir playbook, but ultimately pushed the aesthetic in our own direction. Whenever possible, we shot from the shadow side, with little fill, and relied on a hefty LUT to keep the low end rich and inky. At the same time, we wanted to honor the intensity of the Tulsa sun – something that runs counter to traditional noir, but felt essential to the story.

Panavision is consistently the most helpful and reliable camera house. With limited time and budget on the pilot, traveling to LA for lens tests wasn’t an option. Thankfully, Panavision shipped multiple lens sets a week before principal photography, giving us the time we needed to dial in the exact lenses and camera system for the project.”

“The Lowdown comes out of the tradition of the ‘sunshine Neo-noir’,” says Schwartzbard, DP of some of the later episodes. “Adam Stone set the look in the pilot and established a great view of Tulsa – it’s a bit warm and nostalgic, a bit 70’s. The writing in the Lowdown is different, scenes are more centered on individual characters, and so the look that Adam established, and that Chris Norr and I followed, was more about wider lenses closer up.

[Light Iron Supervising Colorist] Corinne Bogdanowicz graded all three seasons of Reservation Dogs, my last project with [director] Sterlin Harjo. She always does fantastic work salvaging my sloppy shooting, and navigating the inconsistencies of Oklahoma weather. Corinne and I followed the vibe Adam set up. We leaned into the 70s a bit more by adding film grain and keeping the HDR from peaking too high, I felt those were both important. Hopefully we ended up a bit retro, a bit timeless. I’ve been lucky to get to work with people like Sterlin, who are doing work that’s meaningful, humanist, and empathetic.”

📸 BTS Photography by Shane Brown

01/05/2026

We caught up with breakthrough cinematographer Jessica Arzate on her work on ‘Sheepwell’, a darkly comedic feminist thriller adapted from Margaret Caterisano’s Lope de Vega play ‘Fuenteovejuna’. The film, which premieres in 2026, was shot on the Panavision DXL2 camera with Ultra Speed lenses and supported by the New Filmmaker Program and Light Iron.

“[Director] Kim Caicedo and I have made six shorts together, so by the time we approached this feature we already shared a strong creative shorthand,” Arzate told us. “The goal was a grounded and intimate world, focusing on the ordinary moments in these characters’ lives while letting a slightly absurd comedic tone surface. We leaned toward a Coen-influenced sensibility, and for camera movement, Kim showed me scenes from Hong Kyung-pyo’s work in ‘Burning’.

We wanted to replicate the natural light effects the locations offered, shaping contrast and quality in a way that felt true to each space. We aimed for soft tones and a gentle roll-off, keeping detail in the highlights and shadows. Our gaffer, James Swartz, and the G&E team worked hard to make that approach hold up in every setup.

Light Iron Senior Colorist Katie Jordan was involved from the very beginning. She helped create a LUT that brought us close to the final look on set, and her work matching the cameras and refining the grade made a real impact. With so many night scenes and a tight schedule, the Ultra Speeds were exactly what we needed. Having T1.3 available more than once saved the day (night) while still keeping the image where we wanted it aesthetically.

I’m so grateful to the Panavision crew, whose support and trust helped make this project possible.”

12/22/2025

“Twisted Metal is the kind of show that pushes you to your limits, but you love every minute of it.” Light Iron senior colorist Charles Bunnag recaps his collaboration and approach to grading Peacock’s 'Twisted Metal' Season 2.

“I came onto Season 1 when Light Iron was awarded the show, and by the end, the whole team clicked. So, when Season 2 came up, I was thrilled to return. We had two new DPs, Spencer Combs and Fraser Brown [CSC], who brought a ton of creativity to the table. Right away, I could tell there were new opportunities to experiment. I also worked closely with VFX supervisor Josh Spivack to help shape the final images. Josh is wonderfully collaborative, and that let us really push what was possible in the grade.

This season, Fraser had the idea to add greens and blues into the blacks, which gave the image more depth and character. The show also moved from New Orleans to Vancouver, where the clouds are always moving, so there was a lot of work done to line things up. But those challenges became opportunities to be creative. For the massive action in episode 211, we created what the showrunner, Michael Jonathan ‘MJ’ Smith, called the ‘eternal sunset,’ using lighting effects, brute-force shapes, and light rays to tie everything together.

Twisted Metal has a heightened reality to it, which meant we could really lean into color. For example, the prom episode is full of rich, saturated lighting that turned out much prettier than I expected. Episode 205 features a fiery eclipse sequence that let us experiment even more, with Josh and I trading ideas on how far we could push the effects within the grade. Every scene became about adding depth to a 2D image — using light, contrast and atmosphere to build separation and a sense of dimensionality.”

11/27/2025

This is your sign to cozy up with a glass of champagne and stream 'Champagne Problems', now on Netflix 🥂 Light Iron Supervising Colorist Corinne Bogdanowicz takes us behind the scenes on her work with DP José David Montero and director Mark Steven Johnson on the new holiday classic.

“The filmmakers wanted a bright, warm, beautiful feel to the movie,” says Bogdanowicz. “I had worked with both the DP and director previously on a movie called ‘Love In the Villa’. Because we had collaborated before, we were able to quickly get the movie in a great place, and spend time really polishing the images.”

11/12/2025

“Long Story Short has a simple, graphic quality that makes it feel approachable. Even though the content is distinctly adult, the visual style is almost childlike. Grading the show was a continual reminder that there’s real sophistication in the simplicity of a graphic image that reads well.”

Light Iron senior colorist Charles Bunnag welcomes viewers inside the grading suite for Long Story Short, the Netflix animated series from BoJack Horseman creator Raphael Bob-Waksberg.

“Grading animation is essentially the same as live action. In the end, it’s all about whatever looks good and tells the story. For me, this philosophy goes back to my art-school training, where I learned to see, and break down, every image in terms of its fundamental elements. Those fundamentals apply as much to animation as they do to live action.

I also want to credit my fellow colorist Pat Fitzgerald for his help on the show. The simple, direct style of Long Story Short pushed us to simplify our approaches to the grade and the specific tools we employed.

In animation, as in live action, I’m not trying to impart my own vision onto the project. I have my own sensibilities, but I’m only going to use them to help the creatives tell their story. Once you build that trust and a relationship with the creative team, it gives them a sense of security knowing that, if and when they need to, they can take things further in the color grade.”

10/31/2025

Halloween doesn't feel like Halloween this year without What We Do in the Shadows 🧛😭 We chatted with season 6 lead cinematographer Bevan Crothers about his work on the show’s final season and his collaboration with Light Iron senior colorist Ethan Schwartz, who’s worked on the show since season 1. “The show’s got two edges to it,” says Crothers. “The vampire world is dark, colorful and slightly theatrical with its lighting, color and the costumes — lit by candles and moonlight, it’s beautiful, and the mansion is old and Victorian. The human world is boring, stark and quite mundane.”

“I’d heard about Ethan before coming to the show, and everybody raved about him. I rang him up during my prep — he’s a total resource for a DP coming into a series like this and understands the look and the feel of the show.

On set, we tended to run the white balance at 4300K and then light everything either colder or warmer from that point. Sometimes the candles become too warm. For me, it’s always about never feeling it’s too lit. It’s a colorful show that has that slight theatrical feel in the mansion, without feeling like it’s gone over the top. This was a big thing to protect in the final grade.

In a mockumentary, consistently getting light in the actors’ eyes is one of the hardest things to achieve. Ethan was a huge help in that area with his ability to lift and enhance the vampires’ eyes. Nadja has a long dark fringe, so her eyes would go dark quickly. It’s great to dig into the shadow detail and pull them back up into a good place.

This was a massive opportunity for me, and I went in going, ‘I’m going to punch up as high as I can.’ Being that the feature film originated in New Zealand and is so iconic there, I felt honored, as a New Zealander, to have finished the show with such an amazing team. And as far as endings go, I think episode 11 pays off so well and is so respectful to the audience, the story and the characters. I’m blown away to have shot the final episode, but at the same time, I wish this was just a hiatus and we were coming back for more!”

10/07/2025

Light Iron Supervising Colorist Corinne Bogdanowicz took us behind the scenes on the gritty, dynamic new noir series The Lowdown.

“The look of the show has a lot of warmth, and a bit of a dusty feel,” says Bogdanowicz. “We did keep some nice color separation in some areas, but we also have some scenes that are more monotone with warmth. We kept some darkness that plays into a bit of a noir feeling, and I used a lot of hue shifting to either create color separation or take it away, as necessary. I shaped a lot of scenes with windows to draw your eye appropriately, as well as keeping a darker vintage feel at times. I also used Livegrain to give some nice texture.

I created a LUT for use on set that we followed through to finishing. I worked with cinematographer Mark Schwartzbard to create the LUT, and we did some in person and remote sessions to finish the final color. I also worked remotely with DP Christopher Norr on some of the episodes. I had worked previously with Mark and show creator Sterlin Harjo on Reservation Dogs; Mark and I collaborate well, and have a trust that comes with several seasons of working together.”

09/21/2025

“Chris wanted to shoot in the summer in London because he felt it was essential for this film. Visually, we always wanted to keep a rich look to the movie. We didn’t want to light it in a purely comedic way, but rather in a style that carried some edge. Real life is full of both comedy and tragedy, and that’s ultimately what this story is about.”

Don Burgess ASC takes viewers behind the scenes of director Chris Columbus’ Netflix feature film The Thursday Murder Club.

“Chris prefers to focus on one camera, which I think is great. You design these beautiful shots that really tell the story and then shoot the coverage. Chris has the ability to see it, communicate it, and then make it better once the actors are in rehearsal.

When I started testing, I felt the Panaspeeds had a little softer look to them, which I felt was more appropriate for the material and for the cast. When you’re trying to put everything together in prep, these pieces start talking to you at some point. It’s purely a gut feeling that ultimately happens when you’re looking at the material.

Contrast was really driving the image. The color was what I’d call ‘normal,’ but the contrast became the point of testing — building up the highlights and falloff so the image felt stronger. That process gave us the guidebook for what the dailies would look like, what we’d be tracking toward in post production, and ultimately what the movie would look like.”

Light Iron supervising colorist Corinne Bogdanowicz — who was reteaming with Burgess for their 13th feature together — adds, “We created a show LUT from some test images before production started, which gave us a foundation going into dailies. Don and I have worked together for many years, and we’ve developed a pretty smooth way of collaborating. I graded in Baselight, and we used some shaping and color separation to really draw your eye to the important parts of the frame. With a natural look, the way the characters stand out — or not — becomes a really important element of the grade. Both Don and Chris are very clear about what they want, which made the color correction a really enjoyable experience.”

Watch The Thursday Murder Club now, streaming only on .

Light Iron

01/19/2026

01/14/2026

01/09/2026

01/08/2026

01/05/2026

12/22/2025

11/27/2025

11/12/2025

10/31/2025

10/07/2025

09/21/2025

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Monday	8:30am - 10pm
Tuesday	8:30am - 10pm
Wednesday	8:30am - 10pm
Thursday	8:30am - 10pm
Friday	8:30am - 10pm