Orange and Teal and Mad Max: Fury Road

[Stewball]

Also, I don't think people are manufacturing anything. Color-grading has become a huge necessity in Hollywood now, and criticizing the way a movie is color-graded, just like you might criticize any other technical feature of a movie, is totally valid. Perhaps you should read this article: http://www.theguardian.com/film/2010/au ... -hollywood

No argument with genuine criticism, it's the purity for it's own sake that irks me; you know, like tradition being its own justification.

Well, you might better understand the "purity" angle when it comes to remastered blu-ray editions of movies. For example, in one of the links I provided, there's a picture of Badlands as originally released (top), then the criterion approved transfer (bottom):



There's an obvious difference, and the "purists" you're harping about have a right to point it out and criticize it if they dislike it, no?

There's more:

Those examples are valid objective criticisms, particularly the Badlands example where the orange and teal renders a greenish skin tone and a dingy t-shirt. Purists object based purely on defense of tradition and/or a resistance to change. Is that not what you took me to mean when I wrote in my previous post: "No argument with genuine criticism, it's the purity for it's own sake that irks me; you know, like tradition being its own justification." This happens all the time and I'm genuinely baffled.

So what IS you favorite b&w film?

[Stewball]

Dupe

[Stewball]

FWIW, this is a short blog focusing on the mainstreaming of digitization enabled color grading that blossomed in 2000 with O Brother and Gladiator:

http://gurneyjourney.blogspot.com/2011/08/color-grading.html

[Suture Self]

So what IS you favorite b&w film?

Toss up between Paper Moon and Tokyo Story.

[ShogunRua]

Have to hand it to Suture Self; this is an interesting, worthwhile topic, and I learned some new information from some of the links he provided in the OP.

I do believe editors will rely less upon teal and orange as digital film-making and editing continues to improve. Right now, it's an unfortunate if understandable sacrifice to speed, cost, and efficiency.

[paulofilmo]

I think of Drive when I think of O&T. Tony Zhou's Drive (2011) - The Quadrant System.
Screenshots.

Here's a nice little comment from a Redditor:

Since we're talking Drive, I finally saw it last weekend, and I haven't read any other threads on it, so here's something that blew me away. Spoilers follow, of course:

Drive is a movie about color. Driver is blue, and Irene is gold. I looked for other color patterns but I've only seen it once. I think red is danger/violence, but I'm not sure. Irene wears her red waitress uniform when Driver gets pulled back into her orbit. Blanche is a redhead, wears red fuck-me heels, and bright red lipstick.
Also, whatever Driver's attention is on, there's a spotlight on it.

Given these, here's some things that I've totally been film geeking out about:

1) In the sequence where it flips back & forth between Driver rebuilding a carburetor (repairing a broken heart) and Irene at Standard's party, Driver sits in his dark blue apartment, the cold blue light of his magnifying lamp illuminating his face. When he finishes, he stands up on the right of the frame, and a bare gold light in the kitchen behind him hangs in space next to his head like an idea. The camera pans slowly left across his apartment, as Driver walks in profile toward the door, and as it does so, the light that represents the idea of Irene moves until it hangs in space above the halo of Driver's cold blue magnifying lamp.
As the camera finishes the pan left, we see in the foreground a gold light shining on the pillow of Driver's bed, as he walks away from the camera toward the door of his apartment. (Driver never sleeps.)
And then I exploded because that was one of the coolest things I have ever seen.

2) In the elevator scene, after the embrace, they trade colors for a moment. Driver shoves Irene out into the cold blue parking garage, while in the warm gold of the elevator he stomps the hitman's head in.

3) When Driver finishes off Nino, the spotlight that usually represents the focus of his attention isn't there. In its place, as Driver stands masked atop the cliff, going Jason Voorhees on Nino's ass, is the rotating beam of a lighthouse. The light constantly searches for (but never finds) Driver and Nino, because Driver's Not Here Right Now.
As to the ending: I'm pretty sure Driver dies at the end. He sits in the car for that long, long shot, stabbed in the liver, as the light breaks over his top eyelid. He's thinking about Irene (golden sunlight). I think when he blinked, he's dead, and those last shots of him driving, back in his element, are metaphor.
That said, it's totally open to interpretation. Great flick.

Learn more about Colour Design from Cinema5D.

Explore palettes with Movies In Color.

[VorpalKitten]

Anyone watched the film in black and white? I watched the first 15 or so in black and white, and maybe it's because I've only ever seen like, Charlie Chaplin and such stuff in grayscale, but the action in Fury Road seemed a lot more farcical without the color (the chase scene with the warboys in the tunnels especially, incompetently grasping at Max on the ledge) Also I'm realizing I could only make out about half the dialogue in the theater. Amazing the movie's lore works so well even with half the words drowned out by roaring engines.

[rklenseth]

Well, you might better understand the "purity" angle when it comes to remastered blu-ray editions of movies. For example, in one of the links I provided, there's a picture of Badlands as originally released (top), then the criterion approved transfer (bottom):



There's an obvious difference, and the "purists" you're harping about have a right to point it out and criticize it if they dislike it, no?

There's more:

Where are these images coming from? Is the top picture from a DVD release and the bottom from a Blu-ray release? The color difference might be explained by how much information could be transferred to the DVD back in the day especially if the top picture was from an old single layer DVD. It wouldn't surprise me in the least if certain colors were taken away from the movie to make it fit the DVD. I believe the best example is what it looks like on film if there is still a good version of "Badlands" (1973) in existence. I would assume the studio still has a master copy and probably have transferred it digitally by this point. That would be the only true way today to see what the film was to look like. It also wouldn't surprise me if the studio is messing around with the colors but there could be another explanation.

As far as movies nowadays, it'll all change in a few years. Every decade or so, film changes its look and with it the color scheme will change as well. Some big movie will come around and everyone else will try to emulate the same look.