Once a paradise turned inferno, The Lost Bus reimagines one of California’s deadliest wildfires through the cinematic lens of director Paul Greengrass. In ICG Magazine’s recent production spotlight, Company 3 Senior Colorist Stephen Nakamura reflects on his collaboration with DP Pål Ulvik Rokseth, shaping a naturalistic, “documentary fashion” approach.

Rokseth selected the ALEXA 35 as the film’s primary camera, often shooting with long-lens zooms, a decision that directly influenced Nakamura’s approach during the DI. Nakamura relied on a single, camera-neutral LUT, aligning with Rokseth’s preference for a unified, filmstock-like foundation. As Nakamura explains, maximizing the camera’s sensor with a neutral LUT “creates a mold for the image,” allowing for flexibility in warmth, coolness, or black levels to “accommodate changes while maximizing what the DP shot.” To further manage image clipping, Nakamura employed defocusing techniques and luma keys to soften hard edges.

With much of the film shot handheld at night, Nakamura was intentional about avoiding a “monochromatic flame” look. Instead, the goal was to preserve dimension and intensity within the fire-lit environment. Inside the bus, the color palette shifts to restrained, color-neutral darkness, an approach agreed upon with the creative team to emphasize emotional drama over spectacle. This visual restraint built tension and heightened the sense of relief when characters finally emerged into daylight.

Discover ICG Magazine’s full production spotlight to see how Stephen Nakamura shaped the film for viewers. The Lost Bus is now streaming on Apple TV.