Set in New York City in the fall of 1981, the Netflix original film follows ‘Barry’, portrayed by newcomer Devon Terrell, as he begins his junior year at Columbia University amidst a crime-ridden and racially charged environment. As ‘Barry’ grapples with issues that are still relevant in today’s world, the filmmakers sought to create a period piece that didn’t feel too stilted or stylized for modern audiences. 

To give the on-set dailies a filmic quality, Damien worked with the filmmakers to define the palette and Look Up Table (LUT) using test footage shot ahead of the film’s production. Damien and Adam referenced NYC street photography by artists like Bruce Davidson, Frank Horvat, Helen Levitt and Thomas Hoepker. Jonathan Glazer’s 2004 film ‘Birth’ was also referenced for its creamy palette, long takes, and underexposed look. 

Adam shot the film with Zeiss Master Anamorphic lenses to provide a refined image that would help anchor the viewer in present day. Using 35mm stills captured by Adam on the set for reference, Adam and Damien then worked to establish the final look, deconstructing the footage to add grain and depth. Damien explains, “We compressed the white, and gave it more of a glowing diffusion and very soft roll-off to emulate the negative print film effect. It was a balance of making it look like it was shot in the 1980s while not being too stylized or artificial.”

‘Barry’ is the fifth feature film that Damien and Adam have collaborated on and will be available worldwide on December 16th through Netflix, just in time to help viewers bid farewell to the 44th U.S. President.