A hot gold wash sells this middle-American summer, balanced by a selection to maintain the rich cyan sky. Amber waves of grain show the classic beauty of an American road trip to a long time shut-in finally returning to the world.
A strong gold wash is balanced out by a rich cyan sky selection.
This Must Be The Place – digital intermediate colorist Andrea Orsini
35 mm (Kodak Vision3 200T 5213, Vision3 500T 5219) negative to 2K digital intermediate
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
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.
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.
John Anderton plays opposite an adversary.
Confused, hurt, but decisive, he is not vulnerable to the emotions of the other character (pictured below).
Making his confession the adversary puts his life in John’s hands.
Children of Men’s most consistent feature is the compressed creamy highlights. Be it a high contrast bloom, a shadowy afternoon, or mid day out in the open, the sky and highlights ride very low with no piercing speculars. This ties together war torn chaos and pleasant reprieves under one umbrella of oppressive smog.
Children of Men (2006) – Digital Colorist Steven J. Scott
2K D.I. from 35 mm (Kodak Vision2 Expression 500T 5229)
Children of Men (2006) – Digital Colorist Steven J. Scott
2K D.I. from 35 mm (Kodak Vision2 Expression 500T 5229)
Children of Men (2006) – Digital Colorist Steven J. Scott
2K D.I. from 35 mm (Kodak Vision2 Expression 500T 5229)
Children of Men (2006) – Digital Colorist Steven J. Scott
2K D.I. from 35 mm (Kodak Vision2 Expression 500T 5229)
Children of Men (2006) – Digital Colorist Steven J. Scott
2K D.I. from 35 mm (Kodak Vision2 Expression 500T 5229)