Tag Archive | day

This Must Be The Place – cross processed

Dec9

Cross processed slide film when balanced to appealing skin tones can send the rest of the picture to a strong vibrant green. In this case it’s used as a gritty fluorescent effect. This could also be described as an aquamarine wash with skin-tone recovery selections.

Both of these scenes have a sort of gross institutional feel, the kind of place you wouldn’t want to spend a lot of time, which says something about the motivations of the characters found there.

This Must Be The Place - digital intermediate colorist Andrea Orsini 35 mm (Kodak Vision3 200T 5213, Vision3 500T 5219) negative to 2K digital intermediate

This Must Be The Place – digital intermediate colorist Andrea Orsini
35 mm (Kodak Vision3 200T 5213, Vision3 500T 5219) negative to 2K digital intermediate

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This Must Be The Place – golden sunny

Dec9

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.

This Must Be The Place - digital intermediate colorist Andrea Orsini 35 mm (Kodak Vision3 200T 5213, Vision3 500T 5219) negative to 2K digital intermediate

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

This Must Be The Place – digital intermediate colorist Andrea Orsini
35 mm (Kodak Vision3 200T 5213, Vision3 500T 5219) negative to 2K digital intermediate

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Rock N Rolla – three color palette

Dec6

Rock N Rolla has a few different colors throughout but overall its extreme look has a limited color palette of three main colors: Cream, Sienna, Blue. Some scenes use only two of these hues, some use all three, but almost every shot contains the burnt sienna reds.

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Blue/red split with cream highlights.
The mixing board, and everyone’s skin are roughly the same hue, with a sudden jump to blue shadows and cream highlights.

 

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Rock n Rolla - Rob Pizzey digital intermediate colorist Arriflex D-20 HDV source, digital intermediate post, 35mm anamorphic Kodak and Fuji to print at 2.35 : 1

Rock n Rolla – Rob Pizzey digital intermediate colorist
Arriflex D-20 HDV source, digital intermediate post, 35mm anamorphic Kodak and Fuji to print at 2.35 : 1

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Rock n Rolla – Rob Pizzey digital intermediate colorist
Arriflex D-20 HDV source, digital intermediate post, 35mm anamorphic Kodak and Fuji to print at 2.35 : 1

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Sienna/Cream split.

 

Prometheus – monochromatic (blue) wash

Dec4

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

Dec1

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.

 

Footloose 2011 – orange/teal split

Nov27

The orange teal split uses basic complimentary color contrast to make skin tones stand out. In Footloose 2011 the look is used rather strongly, but her face is vignetted/masked and brought back to a more pinkish tone, avoiding the spray tan look and giving her a more vibrant and tender complexion. The look is extra effective on her because it accentuates her blue eyes.

Footloose (2011) - Digital Intermediate Colorist Walter Volpatto 2K D.I. from 35 mm (Kodak Vision3 200T 5213, Vision3 500T 5219)

Footloose (2011) – Digital Intermediate Colorist Walter Volpatto
2K D.I. from 35 mm (Kodak Vision3 200T 5213, Vision3 500T 5219)

Children of Men – cream highlights

Nov27

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)

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)