Research- Colour Scheme

 

roomThese are the colour schemes for the room that we decided on, changing completely from our original ones. Originally, we had went for faded, primary colours that are normally found in these wards. However, we realised that this isn’t what we all wanted. We wanted to keep the colours very saturated and worn so not to draw away from the character and the bulb.

As mentioned previously, we had looked into a few films that applied this same principle.

The Revenant

Article Lead - wide1004290383glxtvtimage.related.articleLeadwide.729x410.glxff3.png1452625433459.jpg-620x349.jpg

anatomy_of_a_scene_-_the_revenant_-_2.jpg

revenant-xlarge.jpg

One of my favourite scenes in this film is when Di Caprio is hiding from the Native American’s around a rock face in the river. The colour saturates from the scene, giving a more blend in or camouflage feel to the character, but is stark enough that it feels gritty.

Chronicle

20111030151255!Chronicle_film.JPG

Chronicle is one of my guilty pleasures. The movie is shot from varying POV, from first person hand held camera phone or camera, to the CCTV footage. The hospital scene (above) is one that we looked into especially for the colours used. This scene follows the story after an accident in which Andrew (in the bed) is in a coma while his alcoholic father watches on. Andrew’s mother, who has cancer, has just passed away, and the colouring in this scene really reflects the overall feelings. The worn out colour reflects the bleakness of Andrew’s life, as the ‘weird’ misunderstood kid who is bullied in school. The whole movie itself seems to follow this desaturation as Andrew is the main focus, despite several other characters being key parts. In fact, the colour changes from this worn look to more intense and dark after the explosion (seen in the footage), giving the idea that Andrew has finally cracked with the delusion of the powers he possesses.

Super 8

super_8_abrams_still_photo_image28-650x249

Super-8.png

super8-13.png

Super_8_Abrams_3-650x247.png

Another film that I have a secret love for is Super 8. I can’t exactly place why- but I think the idea of children being the main focus of this movie stands out to me- like the adventures we used to imagine as kids ourselves. The cinematography and scripting also are inspired heavily by movies like The Goonies, another favourite.

The film is set in the 70s and has a very retro feel to the movie. One of the scenes that this stands out the most, in contrast to the alien activity of suburban life, is the railway scene. As the car approaches the train on the railway and it becomes apparent what is about to happen, there as flashes or reflections of blue light across the screen, reflecting off the windows and the metal pillars. This lighting cue is very similar to those of Edgar Wright, and is foreshadowing of the extraterrestrial life involved. It is the opposite of the less intense lamps and lighting seen previously in the city.

In our own scene we want to imply this principle, the colours faded in the hospital scene itself, as it isn’t exactly a happy place for most people. The lighting changes or cues for us are to highlight the unknown- so how this would look when Cassie’s Mom walks into the chair and curtain.

Atonement

Seamus McGarvey is the cinematographer that worked on this scene and it remains one of my favourite in film history. The movie follows the story of Robbie Turner (James McAvoy) as he tries to return in one piece to his love, from the beaches of Dunkirk. Turner is dying and the beach scene shows him being engulfed by some of the wars most tragic scenes. The shot shows different variations of the mind set, from the massacre shooting of calvary horses to the moving singing on the band stand. The colours in this are dull and greys, however the pinky tones give a sense of euphoria, as if reflecting the atmosphere that once existed on this probably buzzing peer side resort.

I really like the ideas of confusing the emotions felt by people in this scene and would be something worth experimenting in our own work. This was filmed (as described by Peter Robinson- responding for the filming of this scene) to show one continuous space, starting from one end of the beach and ending above that same spot. The continuous changing of motion and what the eye line is following emphasises this madness. (Steadishots.org, 2016).

In our own scene we experimented with changing up the angle of the shot, rather than having a continuous panning shot, following Cassie’s Mom as she moves from the left to the right hand side. As the lights go out completely, after the character falls to the ground caught in the curtain, we had experimented with using an over the shoulder shot, as she sees the bulb on the other side of the bed. This would give the idea of the confusion the character would feel after having fallen and probably hit her head.

12440311_10201551116297762_5866904913979327478_o

Looking up at the light. We would push the shot further- zooming in more.

Saving Private Ryan

Ryan Beatty suggested I also have a watch at the beach scene from Saving Private Ryan, and I can see why now.

The saturated greens in this scene are again an ominous message at the fate that is awaiting for the men who lie ahead. The framing of the shot is also amazing- really setting the seen on the soldiers themselves, showing how they feel before setting into battle. The kissing of the cross and crossing the chest show the desperation of men as they consult God for probably the final time. It’s important to note the consistency of the colour in this scene. The green tinges, blending with the dirty beach itself are the same- the only contrasting colour being that of the blood.

In our own animation we were recently talking about applying some sort of war like vibe as she walks across the room in the dark, like a secret mission. Imagine if the curtain and chair were land mines.

Girl Interrupted. 

Trailer for Girl Interrupted.  (Girl Interrupted, 1999).

Another film shown to me by Cassie, the desaturated colours and lighting in this movie are very beautiful and fit well.

 

References

Steadishots.org. (2016). Steadishots.org : Steadicam Shot by Peter Robertson from Atonement. [online] Available at: http://www.steadishots.org/shots_detail.cfm?shotID=298 [Accessed 9 Apr. 2016].

 

Advertisements

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out / Change )

Twitter picture

You are commenting using your Twitter account. Log Out / Change )

Facebook photo

You are commenting using your Facebook account. Log Out / Change )

Google+ photo

You are commenting using your Google+ account. Log Out / Change )

Connecting to %s