It’s an important thing to remember, that not everyone had access to a nice television. Many people can’t afford it, or when they have one, they don’t know how to install it. They’re not just plug-and-play devices anymore, and you practically need a degree to set them up properly. I’m glad he mentioned it, and it’s something about the audiovisual arts. When you’re working on music mastering, for example, you mix something on the best gear in the perfect setting to listen to it, and then you go play it on some shitty radio. The idea is, if it doesn’t sound good there, it’s not done, because most people are going to listen to it that way.
When we talk about visual art, there is no excuse. You can light it up and tweak it however you want if you have the optimal specs, but if most people can’t see what’s going on…well, it’s a storytelling medium, and if the half of your audience may not see the action, you’re not telling the story. I want to be clear again; I never noticed that things were too dark in “Moon Knight”. It’s just something I’ve seen in the past.
Palermo said it was frustrating as a cinematographer to hear that people couldn’t see things.
“As I mentioned, the post-production viewing experiences are so good. I know you should see something. And I know I sometimes push things to the limit, but I know when I watch something thing, I know exactly where I am. So maybe sometimes it’s the compression. Maybe sometimes it’s a streaming service, or its TV, but it can be frustrating not having a unified , everyone sees it the same way.