DELIVERABLES & PRESERVING AUTHORIAL INTENT - with Steve Yedlin

Team Deakins

James Ellis Deakins

Tv & Film, Filmlighting, Deakins, Movies, Filmmaking, Production, Film, Cinematography, Film Interviews

4.8 • 1.4K Ratings

🗓️ 11 June 2025

⏱️ 71 minutes

🔗️ Recording | iTunes | RSS

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Summary

SEASON 2 - EPISODE 145 - Deliverables and Preserving Authorial Intent - with Steve Yedlin

In this episode of the Team Deakins Podcast, cinematographer Steve Yedlin (Season 2, Episode 72) returns to talk with us about deliverables and preserving authorial intent in post-production. Throughout the episode, we tap into Steve’s deep well of technical knowledge, and we make frequent reference to Steve’s publicly available demonstration on what HDR really is and how it has affected the colour timing stage of post. We get into the weeds during our conversation, and we try to make sense of the growing number of variables, units of measurement, and home-video viewing options we’re forced to contend with as filmmakers in the digital age. We also look at how our level of control over home-viewing deliverables has changed since the VHS days, and we attempt to peek into what the future may hold for us as technology and audience expectations continue to evolve. Towards the end of our conversation, we discuss the economic realities of restoring old films, and Steve offers his best advice to any young (or older!) filmmaker feeling overwhelmed by the endless technical jargon. Plus, we find some surprising and relevant wisdom within THIS IS SPINAL TAP.

We highly recommend watching Steve’s demonstration on HDR for an even deeper investigation into the topics discussed in this episode. Tap here to watch.

This episode is sponsored by Aputure & Profoto

Transcript

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0:00.0	Hi and welcome to Season 2 of the Team Deacons podcast,
0:07.0	a collection of informal conversations between Roger and James Deacons and a guest.
0:13.0	We never know where the conversation will take us, so listen in and see where it goes.
0:21.9	This episode is sponsored by Aperture and its new Storm XT-52, the industry's most
0:29.5	powerful LED point source light. Brighter than a 6K HMI and powered by Aperture's revolutionary
0:36.8	Blair light engine, the Storm XT-52 is both a tunable
0:41.9	white light and also the brightest ever adjustable color LED.
0:47.1	Storm XT-52, unrivaled output, only from Aperture.
0:55.3	This episode is sponsored by Prophoto.
0:59.1	Prophoto, the light shaping company, renowned for its high-end lighting equipment used by
1:04.4	the world's best photographers and brands, has now expanded into the world of cinematography
1:10.4	with uncompromising speed of use and limitless creativity.
1:15.8	The L-1600D is a high output with no ballast LED light.
1:21.6	Its dual mount makes it compatible with 50-plus pro-photo modifiers and hundreds of Bowen's mount modifiers, making
1:30.5	it a breakthrough product for cinematographers and gaffers seeking speed and efficiency
1:36.4	on set with the highest degree of creative light-shaping possibilities. Today we're having another look at Post, this time focusing on the deliverables, the other formats
1:50.3	that are made of the movie, other than the theatrical release, and the struggle to maintain
1:55.7	the original look throughout.
1:58.1	Joining us for this conversation is the cinematographer Steve Yedlin. You know him from
2:03.4	his many credits, including Looper, Star Wars Episode 8, The Last Jedi, Knives Out, and Glass
2:11.0	Onion, to name a few. He's also a wizard at the technical side of things, having put together
2:16.9	demonstrations that include a look at the technical side of things, having put together demonstrations that
	...

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