{"id":18,"date":"2013-11-25T23:29:42","date_gmt":"2013-11-26T07:29:42","guid":{"rendered":"http:\/\/lookbook.colorist.us\/?p=18"},"modified":"2013-11-26T00:35:31","modified_gmt":"2013-11-26T08:35:31","slug":"backlit-darkbright","status":"publish","type":"post","link":"http:\/\/lookbook.colorist.us\/?p=18","title":{"rendered":"Backlit Dark\/Bright"},"content":{"rendered":"<p>Here we see two backlit yellow scenes, one from The Curious Case of Benjamin Button, and the other from Children of Men.<\/p>\n<p>Both cases communicate the negative properties of yellow: an uneasiness or dissatisfaction.<\/p>\n<p>In Benjamin Button it is a monotone life with shadows into which his face cannot be seen -he does not know himself, only his paltry accommodations. This shot is soon juxtaposed by his leaving to see the world in cyan daylight.<\/p>\n<p>In Childrenof Men, it is a frenetic unease in the face of cerebral antagonism. We quickly realize that he has a long established rapport with his kidnapper, and the light returns to normal for their more cordial conversation.<\/p>\n<div id=\"attachment_16\" style=\"width: 724px\" class=\"wp-caption alignleft\"><a href=\"http:\/\/lookbook.colorist.us\/wp-content\/uploads\/2013\/11\/Screen-shot-2013-11-25-at-9.51.45-PM-2.png\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-16\" class=\"size-large wp-image-16\" alt=\"The Curious Case of Benjamin Button (2008)  -  Senior D.I. Colorist Jan Yarbrough Arriflex 435, 35 mm (Kodak Vision2 50D 5201, Vision3 500T 5219) Sony CineAlta F23, Thomson VIPER FilmStream Camera; 4:4:4 1080p log\" src=\"http:\/\/lookbook.colorist.us\/wp-content\/uploads\/2013\/11\/Screen-shot-2013-11-25-at-9.51.45-PM-2-1024x614.png\" width=\"714\" height=\"428\" srcset=\"http:\/\/lookbook.colorist.us\/wp-content\/uploads\/2013\/11\/Screen-shot-2013-11-25-at-9.51.45-PM-2-1024x614.png 1024w, http:\/\/lookbook.colorist.us\/wp-content\/uploads\/2013\/11\/Screen-shot-2013-11-25-at-9.51.45-PM-2-300x180.png 300w, http:\/\/lookbook.colorist.us\/wp-content\/uploads\/2013\/11\/Screen-shot-2013-11-25-at-9.51.45-PM-2.png 1280w\" sizes=\"auto, (max-width: 714px) 100vw, 714px\" \/><\/a><p id=\"caption-attachment-16\" class=\"wp-caption-text\">The Curious Case of Benjamin Button (2008) &#8211; Senior D.I. Colorist Jan Yarbrough<br \/>Arriflex 435, 35 mm (Kodak Vision2 50D 5201, Vision3 500T 5219)<br \/>Sony CineAlta F23, Thomson VIPER FilmStream; 4:4:4 1080p log<\/p><\/div>\n<div id=\"attachment_15\" style=\"width: 724px\" class=\"wp-caption alignleft\"><a href=\"http:\/\/lookbook.colorist.us\/wp-content\/uploads\/2013\/11\/Screen-shot-2013-11-13-at-6.08.59-PM-2.png\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-15\" class=\"size-large wp-image-15\" alt=\"Children of Men (2006)  -  Digital Colorist Steven J. Scott 2K D.I. from 35 mm (Kodak Vision2 Expression 500T 5229) \" src=\"http:\/\/lookbook.colorist.us\/wp-content\/uploads\/2013\/11\/Screen-shot-2013-11-13-at-6.08.59-PM-2-1024x614.png\" width=\"714\" height=\"428\" srcset=\"http:\/\/lookbook.colorist.us\/wp-content\/uploads\/2013\/11\/Screen-shot-2013-11-13-at-6.08.59-PM-2-1024x614.png 1024w, http:\/\/lookbook.colorist.us\/wp-content\/uploads\/2013\/11\/Screen-shot-2013-11-13-at-6.08.59-PM-2-300x180.png 300w, http:\/\/lookbook.colorist.us\/wp-content\/uploads\/2013\/11\/Screen-shot-2013-11-13-at-6.08.59-PM-2.png 1280w\" sizes=\"auto, (max-width: 714px) 100vw, 714px\" \/><\/a><p id=\"caption-attachment-15\" class=\"wp-caption-text\">Children of Men (2006) &#8211; Digital Colorist Steven J. Scott<br \/>2K D.I. from 35 mm (Kodak Vision2 Expression 500T 5229)<\/p><\/div>\n","protected":false},"excerpt":{"rendered":"<p>Here we see two backlit yellow scenes, one from The Curious Case of Benjamin Button, and the other from Children of Men. Both cases communicate the negative properties of yellow: an uneasiness or dissatisfaction. In Benjamin Button it is a monotone life with shadows into which his face cannot be seen -he does not know [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[3,1],"tags":[4,5,8,6,9,7],"class_list":["post-18","post","type-post","status-publish","format-standard","hentry","category-review","category-lookbook","tag-backlit","tag-bright","tag-calm","tag-dark","tag-stress","tag-yellow"],"_links":{"self":[{"href":"http:\/\/lookbook.colorist.us\/index.php?rest_route=\/wp\/v2\/posts\/18","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/lookbook.colorist.us\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/lookbook.colorist.us\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/lookbook.colorist.us\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/lookbook.colorist.us\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=18"}],"version-history":[{"count":5,"href":"http:\/\/lookbook.colorist.us\/index.php?rest_route=\/wp\/v2\/posts\/18\/revisions"}],"predecessor-version":[{"id":25,"href":"http:\/\/lookbook.colorist.us\/index.php?rest_route=\/wp\/v2\/posts\/18\/revisions\/25"}],"wp:attachment":[{"href":"http:\/\/lookbook.colorist.us\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=18"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/lookbook.colorist.us\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=18"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/lookbook.colorist.us\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=18"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}