Tag Archive | cool

Prometheus – monochromatic (blue) wash

Prometheus begins with a pre-dawn blue light. This scene feels as calm as morning coffee before the hustle and bustle of a world springing to life. The morning look works as a sort of double entendre of figurative foreshadowing: present day in lush Scotland finding cave paintings like the scene before, as well as linking that past with the monochromatic alien world to come.

Other colors in this film are almost exclusively reserved for humans and human habitat. The sterility of monochromatism isolates the cerebral logic and monolithic power of the alien world from the nature and emotion of humanity.

Prometheus - Stephen Nakamura Digital Intermediate Colorist Red Epic Redcode RAW (5K) (dual-strip 3-D) source format

Prometheus – Stephen Nakamura Digital Intermediate Colorist
Red Epic Redcode RAW (5K) (dual-strip 3-D) source format

Prometheus - Stephen Nakamura Digital Intermediate Colorist Red Epic Redcode RAW (5K) (dual-strip 3-D) source format

Prometheus – Stephen Nakamura Digital Intermediate Colorist
Red Epic Redcode RAW (5K) (dual-strip 3-D) source format

 

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)