Sleeves, booklets, and disc art for Kino Lorber
I got this project from Kino Lorber back in April: three films by Hungarian director István Szabó, including the Oscar-winning Mephisto, based on the novel by Klaus Mann and starring Klaus Maria Brandauer as a German actor dealing with unexpected popularity in pre-WWII Germany. The project called for booklets along with sleeves and disc art for both Blu-Ray and DVD.
As I've done previously with Arrow, I did a series of concepts, each one part of a theme. In the case of Mephisto, the producers decided to keep the original artwork by the legendary poster artist René Ferracci. The file I received was missing the swastika so I had to paint it back in (and just after Passover, too!), in addition to some minor fixes. The original title treatment had already been traced for me.

Fonts used (l-r): original TT + Trajan Pro Semibold / OFL Sorts Mill Goudy Regular + Mr Eaves Regular Italic /
Countach Bold + Countach Regular / Giza SevenThree + Giza OneThree

For Confidence and Colonel Redl, I was asked if I could make something that could stand alongside the Mephisto art. The proverbial lightbulb went off when I found the perfect 3-D flag mock-up. I also spent time researching the correct flags for the time periods that the films take place in: for Confidence, I used the WWII-era Hungarian flag, and for Colonel Redl, the WWI-era Austro-Hungarian flag.

Fonts used (l-r): Bungee Regular + Trajan Pro Semibold / OFL Sorts Mill Goudy Regular + Mr Eaves Regular Italic /
Countach Bold + Countach Regular / Giza SevenThree + Giza OneThree

1. Still supplied by Kino
2. Stock photo of building with vibrance adjustment and cooling filter (80)
3. Smoke element
4. 1-3 composited together
5. Color correction; curve, hue/saturation, and vibrance adjustments; and color balance
6. WWII-era Hungarian flag with curve adjustment
7. Final composite with color lookup adjustment (3DLUT: filmstock_50 on background, Fuji ETERNA 250D Fuji 3510 on flag)
8. Additional grain and camera raw filter (texture, clarity, and dehaze adjustments)
1. Still supplied by Kino
2. Characters and partial shadow masked out
3. New background
4. Background gradient and shadows
5. Color correction and curve adjustment
6. Hue/saturation adjustment, color balance, additional grain, and color lookup (3DLUT: Fuji F125 Kodak 2393)

Fonts used (l-r): Mopster Regular + Trajan Pro Semibold / OFL Sorts Mill Goudy Regular + Mr Eaves Regular Italic /
Countach Bold + Countach Regular / Giza SevenThree + Giza OneThree

The still of Klaus Maria Brandauer from Colonel Redl was surprisingly difficult to mask due to of the depth of field. His face is in focus, yet the gun is not.
1. Still supplied by Kino
2. Stock photo of trees with blue cooling filter 
3. Fire element
4. 1-3 composited together
5. Color correction; curve, hue/saturation, and vibrance adjustments; and color balance
6. WWI-era Austro-Hungarian flag with curve adjustment
7. Final composite with color lookup adjustment (3DLUT: filmstock_50 on background, Fuji ETERNA 250D Fuji 3510 on flag)
8. Additional grain and camera raw filter (texture, clarity, and dehaze adjustments)
It may not look like it (since these photos aren't zoomed in 200%) but many of the stills supplied to me required a lot of work. In addition to the clone tool, I've started using the spot healing brush more and more. And even a basic white/black balance pass can make a huge difference.

I knew I'd want to use this photo with text on top, which is why I made it much brighter than I would have otherwise.

For the discs, I was told to simply use the artwork. And for the booklets, I don't really have any kind of formal process. I lay the essay in first and work around it. If an essay goes long and I have to take out a photo, that's what I do. Or if I can reposition a character in a photo further down in the frame to make room for one final paragraph on top, I'll try that. No two booklets are the same. And I always use dark text over light backgrounds... I really try to use dark backgrounds sparingly. 
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