Yvan Lucas has worked on a remarkable list of acclaimed and award-winning feature films, collaborating with many of the world’s top cinematographers and directors throughout his illustrious career. He frequently works with internationally renowned cinematographer Rodrigo Prieto and was recently honoured with the top prize at the Filmlight Colour Awards for his work. Additionally, in 2024, he received the Lumiere Award from the Advanced Imaging Society (AIS) for Best Use of High Dynamic Range in a Feature Film.
His notable projects include Killers of the Flower Moon, The Irishman, Once Upon a Time in Hollywood, Django Unchained, and Inglorious Basterds. Lucas had a successful tenure at EFILM (now part of Company 3) and continues to be a sought-after colorist in the US and his native France.
Before beginning his impressive digital grading career in the US, Lucas was one of the first to digitally colour an entire feature film in Europe—Jean-Pierre Jeunet’s Amélie—an assignment he’d landed after rising to the ranks of the most highly sought-after photochemical timers in the country. He solidified his expertise and experience through regular collaborations with prominent directors such as Jean-Pierre Jeunet, Roman Polanski, and Luc Besson, as well as leading cinematographers Darrius Khondji, Philippe Rousselot, and Bruno Delbonnel.
REMOVE ADS
Biography
Yvan Lucas has worked on a remarkable list of acclaimed and award-winning feature films, collaborating with many of the world’s top cinematographers and directors throughout his illustrious career. He frequently works with internationally renowned cinematographer Rodrigo Prieto and was recently honoured with the top prize at the Filmlight Colour Awards for his work. Additionally, in 2024, he received the Lumiere Award from the Advanced Imaging Society (AIS) for Best Use of High Dynamic Range in a Feature Film.
His notable projects include Killers of the Flower Moon, The Irishman, Once Upon a Time in Hollywood, Django Unchained, and Inglorious Basterds. Lucas had a successful tenure at EFILM (now part of Company 3) and continues to be a sought-after colorist in the US and his native France.
Before beginning his impressive digital grading career in the US, Lucas was one of the first to digitally colour an entire feature film in Europe—Jean-Pierre Jeunet’s Amélie—an assignment he’d landed after rising to the ranks of the most highly sought-after photochemical timers in the country. He solidified his expertise and experience through regular collaborations with prominent directors such as Jean-Pierre Jeunet, Roman Polanski, and Luc Besson, as well as leading cinematographers Darrius Khondji, Philippe Rousselot, and Bruno Delbonnel.
