Tag Archive | bloom

Minority Report – magenta skin

Magenta areas of the face can show a vulnerable emotional connection to the other character on screen. Often present at intense or cathartic moments: breakups, sexuality, flirtation, this is not a sign of physical pain or weakness, but an inability to overcome the emotional impact of, or receptiveness to, the other character’s identity.

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Minority Report (2002) – Color Timer Dale E. Grahn
VFX: digital color timer: PDI/Dreamworks Begonia Colomar; color timing supervisor: ILM Kenneth Smith
Super 35 mm (Kodak Vision 500T 5279, Vision 800T 5289, Eastman EXR 200T 5293, Fuji Super F-500T 8572)
parts of the film were processed with bleach bipass
Print 2.35 : 1 Technicolor 35 mm (anamorphic) (Kodak Vision Premier 2393)

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Minority Report (2002) - Color Timer Dale E. Grahn VFX: digital color timer: PDI/Dreamworks Begonia Colomar; color timing supervisor: ILM Kenneth Smith Super 35 mm (Kodak Vision 500T 5279, Vision 800T 5289, Eastman EXR 200T 5293, Fuji Super F-500T 8572) parts of the film were processed with bleach bipass Print 2.35 : 1 Technicolor 35 mm (anamorphic) (Kodak Vision Premier 2393)

Minority Report (2002)
Partners face off in an unfortunate circumstance;
both must follow their assigned path despite how it might hurt the other.

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John Anderton plays opposite an adversary.
Confused, hurt, but decisive, he is not vulnerable to the emotions of the other character (pictured below).

 

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Making his confession the adversary puts his life in John’s hands.

 

Minority Report – high contrast

The high contrast look of Minority Report can be misleading. In this shot the blacks are actually lifted and highlights are a good bit below max. This allows for a nice smooth roll off into black and a feeling of deep deep shadows without having a crushed or crunchy clipping feel. The highlights also have a bloom that softens the hard contrast and adds a dream like layer to the experience, as if a subtler version of the pre-cognition seen by the oracles of the film. This relationship heightens the experience in its assertion that the plot is itself a premonition of our own real world future.

Minority Report (2002) - Color Timer  Dale E. Grahn digital color timer: PDI/Dreamworks Begonia Colomar; color timing supervisor: ILM Kenneth Smith   Super 35 mm (Kodak Vision 500T 5279, Vision 800T 5289, Eastman EXR 200T 5293, Fuji Super F-500T 8572) Print 2.35 : 1 Technicolor 35 mm (anamorphic) (Kodak Vision Premier 2393)

Minority Report (2002) – Color Timer Dale E. Grahn
VFX: digital color timer: PDI/Dreamworks Begonia Colomar; color timing supervisor: ILM Kenneth Smith
Super 35 mm (Kodak Vision 500T 5279, Vision 800T 5289, Eastman EXR 200T 5293, Fuji Super F-500T 8572)
parts of the film were processed with bleach bipass
Print 2.35 : 1 Technicolor 35 mm (anamorphic) (Kodak Vision Premier 2393)