(2025) Feature Film
Runtime 82min
4K DCI Scope 2.39
Written & Directed - Donna DiGiuseppe
Executive Producer - Rick Matcovich, Simone D'Alessandro, Gabriele Bucari
Line Producer - T Davis
Editor - Teressa Longo
Director of Photography - Cliff Traiman
Production Designer - Jacquelyn Scott
Original Score - Alexis Soto Jr.
Colorist and Finishing Artist - MARCO RAMIREZ
MAIN CAST
Antonio Di Rossi - Andrew Rogers
Mary Green - Toni Maddocks
Valeria Di Rossi - Valeria Di Menno
Sister Martha - Heidi Schooler
Il Padrone - Mario Massari
Anne Green - Rose Mcavoy
Virginia "Jenny" Webster - Isabella Basco
Tony Rossi - Kevin Medlin
Josh Greenberg - Joshua Malekos
Notes from the Color Suite - "AR"
A film that takes place between 1920s and the 1950s. Digital emulation profiles: Kodak Aerocolor (1950s), FujiColor (Ireland), LomoChrome (1920s) film; and printed on Kodak 2383.
Cameras: Sony FX9, BMC 6k RAW
1920s - old, warm, naturalistic, with tones yellow and sepia
Ireland 1920s - Cold, very green, fair skin tones
1950s - more colorful, naturalistic,
AR is a film that lives between the 1920s and the 1950s, and the grade had to travel through time with it. To build that journey, I leaned on digital emulations of period stocks: Kodak Aerocolor for the 1950s sequences, Fuji‑style color for Ireland, and LomoChrome‑inspired looks for the 1920s, all living on top of a Kodak 2383 print‑film backbone for contrast and density.
The images came from a Sony FX9 and a Blackmagic 6K shooting RAW, which gave me enough latitude to push each era into its own palette without breaking the footage. For the 1920s, I wanted the world to feel old, warm, and naturalistic, with yellow and sepia‑leaning tones that suggest early color processes and hand‑tinted photographs. The Irish 1920s sequences shifted into a colder register: deep, saturated greens in the landscape and carefully protected, fair skin tones to avoid turning the actors into postcards.
By the time we reach the 1950s, the world opens up: more color, more naturalism, a slight polish that hints at mid‑century optimism. Here the 2383‑style print curve carries more weight, adding snap to the contrast while keeping highlights creamy and shadows rich. The challenge—and the fun—was keeping the film coherent as a whole while letting each period have its own visual identity, so that you can almost feel the decade you’re in before anyone says a word.
