Colour Narrative

With Implication fully complete and approved by Tom (Director) I can now reflect upon the final representation of colour in the film in relation to the narrative. The whole idea with colouring the film is to focus the palette on expressing the narrative and an extension of the films themes emotional transitions.

Constructing the palettes each colour embodied a emotional state of play in the film. ‘Gold’ was the warming palette of relationships, starting with Leo & Ingrid, soon progressing onto Leo & Lindsay. The ‘Cold’ palette focuses on blue hues and desaturated tones, associated with the emotional state of individuals (e.g. Ingrid as her relationship deteriorates). ‘Soft Blue’ acts as a natural and neutral palette to contrast stylised sequences. ‘Pink Passion’ is dynamic as it is introduced during moments of passion and intimacy. ‘Dynamic Purple’ and ‘Muddy’ were two unique palettes devised for particular sequences.

Upon review I feel I have stayed true to the emotional play of colour in the film. This works in combination for the three colours Tom uses to define his characters: Leo – Blue, Ingrid – Yellow, Lindasy – Red, as all are dressed in these iconic colours so I could pull them further out from the frame using qualifiers.

Implication Colour Storyboard

Viewing the grade as a series of scene stills I feel the emotional transition through colour is easily apparently. Starting off as a yellow warm/natural state the threat of blue is introduced leading to a growing intimacy and passion as red begins to dominate. With this shift in colour there is a jump between colours as emotional turmoil occurs in the middle, this is reflected through natural light and individual appearances of yellow, blue and red. The third act sees the red character embrace the warmth of a golden palette and further build on the intimacy between her and blue. As this shift in colour occurs simultaneously the coldness of blue starts to surround the yellow.

Towards the end red and blue battle it out inside the blue palette to win the character. This leads to a complete breakdown in colour as darkness surrounds the emotional state of blue. The end suggests a return to the original equilibrium as we are presented with an golden palette again, but the overly stylised nature is sarcastic as it is a faux ‘happy ending’ with red removed from the palette.

Whilst this is a slightly confusing concept to grasp the more you think about these three iconic colours the more you can release their journey in the narrative. At times colour meanings do swap such as blue representing Leo and blue representing coldness, despite this it is still relatively clear.

There is still the ability to break down each sequence individually aside from this overall colour narrative. The initial palettes are still relatively prominent, though at times they have broken away from the intended treatment due to adapting for the state of narrative and film. Colour association continues to be a dominant factor throughout the grade, relying heavily upon western cultural semiotics in order to read the meaning behind their inclusion.

Ultimately the grade is an extension of the narrative and I feel I have encapsulated this effectively. Whilst I had constructed palettes I feel the dominant colours associated with each character is the best connotation for reading the narrative rather than deconstructing colours in each scene. The whole purpose behind this film was its unique visual emphasis commonly associated with fashion and photography, I feel like the grade has fulfilled this production criteria perfectly and I am extremely proud of my input on the film.


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