John Persichetti is a world renowned colourist, he has worked on more than Fifty Feature films as the DI (Digital intermediate) over 24 years working in the film industry. Before John made it big in the industry, he studied a "B.A, English, Communication Arts at La Salle University and a MFA, Film and New York University."(Colourworks,2014) and then later went to work for Sony Pictures Entertainment as a Colourist, now he works at Colourworks as a DI.
John has worked with some of the leading cinematographers and directors including
"James L. Brooks, Robert Rodriquez, Adam McKay, Janusz Kaminski, and Oliver
Wood."(Colourworks,2014) He has also worked on documentaries, animation and several 3D projects, such as The amazing Spiderman 3D.
John is popular in the public's eye, he has …show more content…
"
That was a deliberate choice by directors Phil Lord and
Chris Miller, who prefer to play their comedy with a straight face."(Studio Daily,2012)
The lighting used enhance the character and create more emotion without creating
a brightly light comedy. “We didn’t want it to be over-lit like a typical broad comedy,”
explains Miller. “Visually, at least, it’s more realistic"(Studio Daily,2012)
"Persichetti says most scenes were rendered contrast,
with muted colours, in keeping with the dramatic
realism sought by the directors."(Studio Daily,2012)
Based on John's work on 21 jump street, I want to use
the style of keeping the dramatic realism while in other
scenes creating a brightness to show that it is still don't depressive. I will also
John has worked with some of the leading cinematographers and directors including
"James L. Brooks, Robert Rodriquez, Adam McKay, Janusz Kaminski, and Oliver
Wood."(Colourworks,2014) He has also worked on documentaries, animation and several 3D projects, such as The amazing Spiderman 3D.
John is popular in the public's eye, he has …show more content…
"
That was a deliberate choice by directors Phil Lord and
Chris Miller, who prefer to play their comedy with a straight face."(Studio Daily,2012)
The lighting used enhance the character and create more emotion without creating
a brightly light comedy. “We didn’t want it to be over-lit like a typical broad comedy,”
explains Miller. “Visually, at least, it’s more realistic"(Studio Daily,2012)
"Persichetti says most scenes were rendered contrast,
with muted colours, in keeping with the dramatic
realism sought by the directors."(Studio Daily,2012)
Based on John's work on 21 jump street, I want to use
the style of keeping the dramatic realism while in other
scenes creating a brightness to show that it is still don't depressive. I will also