The Cinematography of “Logan” and “Logan Noir” (2017)

The Cinematography of “Logan” and “Logan Noir” (2017)
Cinematographer: John Mathieson

This is fun. So, apparently James Mangold wanted to make Logan as a black and white movie. Of course the studios would never go for that. They said no. BUT Mangold was able to do a special black and white grade on Logan to release what is called “Logan Noir” as an extra bonus feature of sorts on a second blu-ray. I’ve included both versions of the film here side by side. Enjoy!

8 comments


  • Haitam

    I LOVE YOUR WORK!! PLEASE NEVER STOP DOING THIS!!!

    September 28, 2017
  • Cyrus Kimani

    I appreciate what the director and yourself are trying to do, but for me the color cinema release looks better. Personally, i find B+W looks best when pushed to its limits. A lot of contrast, lot’s of hard light and dark shadows e.g. Sin City. The B+W grade for Logan obviously won’t look as awesome as it could’ve because as you say the studio wouldn’t let Mr. Mangold do B+W. Now, that being said, I think John Mathieson really outdid himself. Even though the cinema release is in color, he was able to make it look noir-ish. It has the features/elements I mentioned(high contrast, hard light and dark shadows). I think I can confidently say that they managed to achieve the noir look even with color.

    October 18, 2017
    • evanerichards

      I can see where you’re coming from. And I’m not sure I disagree with you. When you don’t have a higher contrast visual aesthetic sometimes black and white can just look kind of muddy.

      I’ll be posting “Fury Road: Black and Chrome Edition” soon. You might like that. I feel like the Black and White is a little more contrasty. Keep checking back. I’m hoping to post it soon.

      October 18, 2017
  • Cyrus Kimani

    I very much look forward to your post on Fury Road: Black and Chrome edition. Black and chrome…not black and white…my expectations are already raised. I really appreciated the color palette on Fury Road. It’s grading was pushed to 11! So I imagine the “Black+Chrome” will be bonkers

    October 22, 2017
  • Cyrus Kimani

    As for achieving a noir look but in color…I think a perfect example is the X-Files, esp the earlier seasons. It used to air on Tv in Kenya when I was little so I wasn’t able to appreciate it back then. But now when I’m older and interested in cinema, I’ve been watching it from the beginning. I’m halfway through season 3 and cinematography-wise, I’ve been blown away by majority of shots. X-Files’ unique cinematography lends it a mood and atmosphere.

    October 22, 2017
  • Cyrus Kimani

    One more thing (sorry for inundating you with my comments), I love your posts on cinematography. Keep it up. You’ve really enriched my tastes in the kind of cinema I now watch. Also; your posts show what fantastic filmmakers are capable of producing when they put their minds to it. Moreso esp in this day and age of lowest-common-denominator/by-the-numbers filmmaking. Your posts show what we’re at risk of losing as both filmmakers and audiences.

    October 22, 2017
  • Amean Dehqan

    I learned a ton by just comparing every two shots and comparing how they treated value in black and white and color.

    Thank you for this awesome post.

    October 27, 2017
    • evanerichards

      I’m hoping to post another comparison of the B & W images soon. It’ll be a comparison of the original color images with just a simple B&W filter added and then the Logan Noir images. That way you can see how the B&W images were processed from the original color. When contrast/brightness was added, when power windows were added to lighten/darken certain areas of the images, that sort of thing.

      Keep checking back!

      October 27, 2017

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