It began with an innocent curiosity in a box of 64. Amplified by a French balloon. Hit a frenzy with yellow smoke and the smell of napalm.
I’m the type to discuss, ad nauseum, whether an object is aubergine, plum or violet. Not only am I fascinated by color nuances, but how their effect and interpretation can vary. I love bedrooms painted cerulean blue. Reminds me of the perfect summer sky. But others feel like they’re drowning. Imagine the power you have as a filmmaker with a solid understanding of color?
The cheapest way to increase the production value of your film is through color. You don’t need a gazillion dollars to live and dream in Pantone or Lee Filters. If you have a rigorous discussion of which colors to use and why during prep, you can spend your budget more wisely.
Let me expose you to my color addiction. If you’re short on time, bookmark this article and in the interim, click on “The Psychology of Color : A Guide for Designers” and flip through the books “If It’s Purple, Someone’s Gonna Die: The Power of Color in Visual Storytelling” and “Interaction of Color” by Josef Albers.
Much like my article on camera movement, I’ll certainly forget to mention several important films. The ones mentioned may not be the first to use color in a certain way nor the best example of it. What they did do is ignited previously dormant neurons in my brain through their use of color.
Wish they had mentioned some more poc made films, cause Bollywood is really great for color, and so are several African and African American film