Picture Shop

DOC S3: Dr. Amy Larsen continues rebuilding her life and medical career while navigating complex cases, personal challenges, and the lingering effects of the brain injury that erased eight years of her memory.

Color by Marc Bachli

Premiering on FOX and Hulu today.

CREATOR • Barbie Kligman
CINEMATOGRAPHER • Kim Derko CSC
COLOR ASSIST • Faizan Mohammed
ONLINE EDIT • Paul Deakin
FINISHING PRODUCERS • Jerome Kruin
POST PRODUCER • Nick Iannelli, Austin Titley
RE-RECORDING MIXERS • Joe Morrow, Adam Raley
ASSITANT MIXER • Matthew Esmailian
AUDIO COORDINATOR • Kristian Menes

Lioness is bigger than ever, with Season 3 delivering the series’ most-watched premiere yet.

We caught up with DP Nicole Hirsch Whitaker (.DP), ASC to go behind the look of the pivotal sixth episode, Sugar Land, shot on the to learn more about how she helped create the feeling of tension and more on her collaboration with Picture Shop Senior Colorist Mitch Paulson (.Paulson).

"There's a special look to the show," Whitaker explains. "Its television mixed with film. Every season has had it’s own story and look, but it still all feels cohesive because of the writing, great directors and dps."

[For episode 6, Director D.J. Caruso (.j.caruso)] “DJ and I talked a lot about this and pulled a lot of reference from things that we loved. We talked about scope, and then talked about intimacy,” she says. “And just building the tension, I think in terms of the lensing, I'm a huge fan of big wides and super tight shots. One of the things that some TV tends to do, just because you run out of time, is people sort of rely on medium shots to tell the story. I think that's why the episode works so well in conjunction with the show and those sequences of tension work so well.”

"Working with Mitch was awesome, and obviously he's been doing so much work with Taylor and all of his shows, so he's a very calming presence,” Whitaker says. “He has a great eye. He comes from features, so I felt like he's propelled a lot of these shows into more of a feature look as opposed to a television network look. I barely had to do anything, because he showed me a pass, and I was like, oh, that's great. DJ and I came in and made a few tweaks here and there. He's a great partner to have on these shows.”

Read the full story at the link in our bio.

SLO PITCH: After being dumped by her long-term girlfriend, Coach Joanne Pico (Jess Salgueiro) is dead set on taking her loser slo pitch team all the way to the b**r league championships

Color by Paul Allia

Premiering September 25th on Crave.

DIRECTOR • J. Stevens
CINEMATOGRAPHER • Brennan Full
COLOR ASSIST • Matthew Brown
ONLINE EDIT • Paul Deakin
FINISHING PRODUCER • Brandon Craggs
POST PRODUCER • Dave Huband
RE-RECORDING MIXERS • Will Stephens
DIALOGUE EDITOR • Rob Ainsley
ADR EDITOR • Raiza Rodrigues
SOUND EFFECTS EDITOR • Ryan Birnberg
ASSISTANT MIXERS • Lucas Cecchetti, Harleen Kaur
AUDIO COORDINATOR • Dylan Lewis

What does it really mean to restore a film?

For Picture Shop Senior Colorist Mike Underwood (.Underwood.Colorist), the answer starts with looking back to the original creative vision. From Cinderella and Mrs. Doubtfire to the original Tron, Mike has worked with filmmakers and original materials to help bring these films back to the look they were meant to have.

“When I restore a film like Cinderella or Mrs. Doubtfire, my goal is simple: bring back the look that was originally intended. Whenever possible, we loop in the director. Chris Columbus approved the final look on Mrs. Doubtfire, and for Cinderella, we worked closely with Michael Giaimo from Disney Animation, even tracking down an original print to guide the look and feel.”

Read more about Mike's approach to mastering and restoration, and the work behind preserving some of film's most memorable titles at the link in our bio.