Teal and Orange Colourisation of Modern Films...
Discussion
Excellent post here:
http://theabyssgazes.blogspot.com/2010/03/teal-and...
Well worth five minutes of your time if you're a film buff.
http://theabyssgazes.blogspot.com/2010/03/teal-and...
Well worth five minutes of your time if you're a film buff.
Interesting.
There has been a trend towards "grainifying" images as well - coupled with washing out the colours to give a pseudo black and white look. First film I can recall with this treatment was "Saving Private Ryan" and it was also used in the TV series "Band of Brothers".
It actually worked well in those films as it added a sense of gritty realism to proceedings.
On the hole though, I would prefer colours to reflect reality.
There has been a trend towards "grainifying" images as well - coupled with washing out the colours to give a pseudo black and white look. First film I can recall with this treatment was "Saving Private Ryan" and it was also used in the TV series "Band of Brothers".
It actually worked well in those films as it added a sense of gritty realism to proceedings.
On the hole though, I would prefer colours to reflect reality.
Nothing new really. It's been used in varying ways since filmakers had some control over their films using filters, lighting, types of film, tweaks in the developing process (and latterly digitally) to set tone, mood etc.
A brutal example would be the Wizard of Oz, going from crappy B&W Kansas to crazy OTT colourific Oz to really emphasise the change in place.
Heroes did it more recently when every diferent location/time has a different feel
A brutal example would be the Wizard of Oz, going from crappy B&W Kansas to crazy OTT colourific Oz to really emphasise the change in place.
Heroes did it more recently when every diferent location/time has a different feel
I quite enjoy watching those films where a character or an emotion is associated with a colour.
Sometimes I can work it out for myself but other times it only becomes obvious when listening to the Director's commentary. Some would argue the occasions where it isn't obvious are the occasions where it has worked, as societally-ascribed (i.e. from the context of the film's viewer) connotations of a colour would have been subconsciously associated with the intent or emotion of a character or situation.
I almost hate to say it, but the colour red in Shyamalan's "The Village" is a texbook, if somewhat obvious, example.
This on the other hand, isn't quite the same...
Sometimes I can work it out for myself but other times it only becomes obvious when listening to the Director's commentary. Some would argue the occasions where it isn't obvious are the occasions where it has worked, as societally-ascribed (i.e. from the context of the film's viewer) connotations of a colour would have been subconsciously associated with the intent or emotion of a character or situation.
I almost hate to say it, but the colour red in Shyamalan's "The Village" is a texbook, if somewhat obvious, example.
This on the other hand, isn't quite the same...
Can't say I'd noticed it as much as was pointed out there, but I have been annoyed that there is a lot of "dark" films. (Not the content, the look.) I first noticed it when Mulder and Scully were always running around in the dark. Never during the day.
I'll certainly look out for it. I'm glad they mentioned O Brother Where Art Thou. It's one of the few films I've watched all the extra features for, and a good example of how to use this sort of technology to further an art form.
And I'm looking forward to "Hot Tub Time Machine" too...
I'll certainly look out for it. I'm glad they mentioned O Brother Where Art Thou. It's one of the few films I've watched all the extra features for, and a good example of how to use this sort of technology to further an art form.
And I'm looking forward to "Hot Tub Time Machine" too...
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