LUPIN PRODUCTION
CITY CANVAS The film crew and cast skilfully weave each frame, using both the natural light of the city combined with their own practical light to tell an evocative tale
the previous series. Finishing in Dolby Vision, they worked first on the HDR grade before doing SDR trims. Cointe remembers the series fondly, in part due to Omar Sy’s temperament and support of the project, as well as locations they could access. ”Omar is amazing. Working with my crew, we captured the magic of Paris by night. Shooting in the enchanting Place Vendôme close to Christmas was a blast. The festive atmosphere with Christmas trees created a beautiful bokeh effect, giving the background an organic and lively feel. It was truly a fun experience!” All three series of Lupin are streaming now on Netflix IT’S IMMERSIVE AND MASSIVE SHOOTING IN anamorphic AND full-frame ”
unique perspective and quickly became a hero lens. “The first time I used it, Ludovic said ‘okay that will be our lens’. You can look close and open the rest of the frame – it’s amazing! It changes his way of filming to tell the story about Assane’s relationship with his kid.” Concerning flares, Cointe felt that the special flare coatings lent themselves to an organic look that never overpowered the emotion of the scenes. “Even on the police lights, it was soft. You say in France ‘la douceur’ [the gentleness].” Lupin was a predominantly location- based shoot, with the production moving from cars to trains; wide vistas to small, cramped rooms – sometimes within a matter of a couple of days, as befitted the fast-paced action. There was a push from the production designer to shoot in genuine environments which, coupled with Bernard’s affection towards tiny spaces (especially for the Q-like character of Ferel), could have posed a challenge. Cointe credits the larger
format and wide-angle offering of the Cooke with making these spaces workable for the story. The fast-paced schedule required Cointe to take a prep-based approach to the lighting, relying on discussions about location scouts with gaffer Brice Tupin and developing a sixth sense with one another as they worked across the two blocks together. Not being rooted to a single ISO allowed Cointe the flexibility he needed within the locations; he’d build different LUTs for each location and then work on- set with the DIT to finesse. When it came to finishing, Cointe sings the praises of colourist Aline Conan who’d overseen
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