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Excerpt: One of the things that is important to both Bobbitt and McQueen, who have shot all of McQueen’s films on 35mm film stock, is this work is captured in-camera. It’s rare in a digital age, where so many films’ color story and overall look is manufactured in the post-production color grading process. And yet Bobbitt has an equally close collaboration with his longtime colorist Tom Poole, one of the most well-respected color graders working in movies, which begs the question: What is the role of the rigorous color grading for a DP who creates the look of his film in-camera?
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