Color schemes

 

Hello!

As I begin the production process tomorrow, my brain is already looking forward. The editing process for me occurs while the camera is still rolling, and before it a lot of the time as well. I feel like envisioning what is captured already into my software helps me to figure out what exactly I need from my cameraman and from myself, too. Specifically, my mind is on the coloring of the film itself. Coloring is extremely important to mood and reflective of the style of the director themselves.

Although Wes Anderson's color scheme is not what I aim to recreate in my project, I'm absolutely in love with his aesthetic throughout his films and his dedication to art through architecture, costuming, and prop design. In the Grand Budapest Hotel, (shown to the left) he was also said to be picky with the movements in his scenes, as he wanted them to look as fluid and satisfying as possible, famously stepping in the actor's place during the prison's food scene to ensure the movements looked exactly how he wanted. This dedication inspires me and helps me to be sure of every scene before I move on to the next, prioritizing consistency and happiness throughout the production and editing process over everything else.

More similar to my expectations, the color palate of David Fincher's Fight Club is exactly what I'm envisioning. A dark, almost mysterious mood is created throughout this movie through the coloring alone, and forms a tension as the atmosphere around the main character shifts from blues and grays to yellows, reds, and blacks. Although I'm not filming an entire movie tomorrow, I do want to imply that if the opening were to have a film following it would have a plot twist or some sort of dramatic ending that will have been foreshadowed by the opening and developed throughout the entire film.

I obviously cannot rely too much on the colors captured through the camera, so this is a future me problem for when I begin editing. Just something to think about. Thanks for reading!