Colourist Treatment

I will be approaching the grade with two distinctive colour palettes in mind, each creating a separate visual style but at the same time working together due to similar tones. Colours will generally change between different scenes, but all will try to fit into the two palettes I will establish. The first being based around cold blue tones whilst the second shifts towards desaturated greys and browns.

Blue is strongly associated with the science fiction genre, commonly used as hue within the strong white lights that are ‘extra-terrestrial’. Psychologically blue is reliable and responsible, exhibiting inner security and confidence. It adds a sense of strength; working contrapuntal to the situation the three sisters find themselves in. Blue is inflexible, analyzes information in order to create its own version of reality. I like to think this psychology matches that of the creatures in the script, who are carrying out what they believe is the right thing and refuse to accept any other reality. When the creatures are present a brighter and eerie version of the palette works its way around the frame, the haunting light breaking down the narrative from the otherwise darker, colder and depressing shades.

Skyline                                                     Skyline (2010)

The second palette is detached, neutral and unemotional, a reflection of the drama and seriousness of the situation and world that the sisters inhabit. Mixed with the desaturation the lack of vibrancy in the grade signifies these qualities and draws the audience into the narrative with a sense of how realistic the situation is for the characters. This palette is apparent in visually inspiring films such as The Road (2009) and The War Of The Worlds (2005).

The entire film will use heavy shadows for an overall dark tone, a perfect embodiment and reflection of the story world. The high contrast grade will detach the characters from the darkness of the world, showing that they do not belong but at the same time they are stuck inside it. This will cause more impact when the strong white/blue light of the creatures break into the frame for moments of awe and eeriness, making the threat seem peaceful in comparison to the aggressive and destroyed world. This will arise further questions from the audience wondering why the characters would rather face a dark world than see the peace of the light.

the road 1                                               The Road (2009)


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