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Photo by Chris Larger 2019 Disney Enterprises, Inc.

Filmmakers have spent decades trying to urge ever sharper, richer, more colorful moving images. But when it came to making Togo, Disney+’s recently released feature-length project, director Ericson Core and senior colorist Siggy Ferstl spent months making the film appear as if a series of stills shot a century ago.

Togo director Ericson Core

(Image courtesy of Disney+)
“I always worked as a director and as (director of photography) on features, so I’m always thinking of the story in terms of performance and elegance ,” said Core. “How am i able to imbue the assembly with a selected look? Because this is often a movie for Disney, they’re often vividly colorful, with bright colors and glossy and glossy. For this story, I didn’t feel that might work.”

The film may be a sturdy and affecting addition to Disney’s long history of family-friendly features involving animals. during this case, it tells a tale supported a real story: the 1925 dog-sled relay across many miles of brutally snowbound Alaskan wilderness that brought vitally needed vaccine to fight a diphtheria epidemic in Nome.

Balto, one among two lead dogs within the last team of that relay, became a 1920s-era media star and later had a statue in his name in ny City. Later, that story became the 1995 Universal Pictures animated film Balto.

But the lead dog within the team that covered the foremost ground within the relay was Togo, an unlikely and disruptive runt with boundless energy who became a champion racer under the ownership of a flinty Norwegian immigrant, Leonhard Seppala (played by Willem Dafoe), and his wife, Constance (Julianne Nicholson).

During the relay, Togo and Seppala’s team covered 264 miles, about eight times what the typical team within the relay covered, though the run nearly broke the then-12-year-old dog. The film ends with a stunning coda of the dog’s final years and his siring of a much-sought-after line of sled pullers.

“It’s a really intimate drama, about this man and his connection to the animal,” Core said. “It’s quite heavy drama.”

To more fully evoke that rugged Gold Rush-era Alaska, Core worked with Ferstl, a senior colorist for Company 3, to develop a set of filters using the program DaVinci Resolve 16 Fusion that might create the design that Core wanted.

Core researched early color photography, especially the autochrome process, developed in 1903 by film pioneers Lumiere Bros. and therefore the first color process for still photography.

“The intensity of what most are seeing today are often very overwhelming,” Core said. “The idea was the way to provides it a glance and take alittle spectrum of that look to make a contemporary and unique look.”

Landscape image from Togo

(Image courtesy of Disney+)
That meant using technology typically wont to create a more intense viewing experience to make one that was more restrained, said Ferstl.

It helped that Core came to Ferstl early within the feature’s creation to stipulate his vision, giving Ferstl six months to return up with visual options. What Ferstl came up with even included the type of dark framing border common to still photos of that era, but unprecedented in modern film.

“We had to limit the latitude and restrict the colour gamut to a more painterly, grounded image,” Ferstl said. “There was definitely some fooling around with how we handled the highlights.”

It soon became a passion project for Ferstl, absorbing much more time than usual within the 60 approximately films and television shows a year Ferstl typically handles.