this trailer has some reviews
Krik conjured an homage to classic noir in a post 9/11 digital age. In
preparation for photography, we approached the production and lighting
design in black and white and shades of grey. For photography all data
was recorded, yet solely the green channel was used for the set monitor.
The color correction was in two stages. First at Nice Shoes, with
colorist Chris Ryan, we created what I describe as a "digital
orthochromatic" master. The green/blue layer is very stark in B&W and
brings out Adam and Elina's eyes. We added a bit of glow as found with
old uncoated lenses. The gamma was bent to thin out midtones.
This ortho-layer was composited with a desaturated color correction done
by Paul in Final Cut & Color. By combining both, the blush of color
introduces additional detail into the highlights - brings humanity to
the skin tones. Surveillance and dream sequences were treated
separately. The many onscreen screens were individually created with
each set having it's own color and character.
Charlie Libin, DP ABLE DANGER
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