Public Enemies Post-Production

[Norman Luce]

One of my favorite movies is Michael Mann's Public Enemies from 2009. I love the photographic style among other things. The use of early digital video speaks volumes to me. 
I know what cameras were used for the movie (Sony F23, Sony F950, and the Sony EX1), but I'm wondering if anyone out there happens to know what if any kind of post-production color grading they did on the movie. It almost looks as if they just used the image straight out of the camera. 

Any information folks might have on the subject would be much appreciated. Thank you. 

[David Mullen ASC]

As I recall, this was in the days when there was a DIT on set color-correcting and recording a Rec.709 signal. Mann had not embraced log recording yet, he wanted to bake-in the color-correction.

The main issue with this is that on set you don't have the ability to use Power Windows so you can't isolate, for example, a bright lamp or sky and bring them down separately before converting to Rec.709.  You're also baking in the amount of sharpening based on viewing a set monitor than by watching the image on a large D.I. theater screen.

You're also color-correcting shots as you are shooting them rather than based on an edited sequence in context with other sequences.

Of course in the end there was still a final color-correction session but since the footage had already been corrected once, there was less to do.

Though some people did not like the video look of "Public Enemies" I felt that Mann was at least using HD cameras to create a new aesthetic rather than simply try and hide the fact that he was shooting digital.