1. Hello!

    Has anybody here watched Woody Allen’s two films Midnight in Paris and To Rome with Love?

    If you have, could you tell me what do you think was done to the colours in each film and how do you think it was achieved?

    If you haven’t, or if you have but you don’t remember it all that well, here are some Web pages with screenshots:

    http://www.thecinetourist.net/an-american-tourist-in-paris.html
    http://thecinescapader.blogspot.com/2014/11/visiting-filming-locations-of-to-rome.html
    https://filmsatmidnight.wordpress.com/2013/01/18/the-cinematography-of-darius-khondji/

    There are several others, and if you wish, I could take a screenshot or two, especially of a few gorgeous scenes set in a room of Le Bristol Paris.

    In my view, Paris and Versailles have this beautiful yellow and golden cast whereas Rome is very saturated in the red channel.

    But I am sure a few of you will help me with some of your observations.
     
  2. I think a lot of the looks were achieved with great art direction, great lighting, and great lenses, along with coordination with the costume and makeup department. So a lot of it may well have just looked like that on the set. Woody Allen is not a technical guy and does not go in for intense, over-the-top digital color. In fact, I believe all his features have been shot on film so far.
     
    Margus Voll likes this.
  3. I have worked here on features where images needed only some 5% of adjustment. All other things were done in camera.
    With good pictures it is usually relatively simple to add some yellow cast or saturate red or what ever look you are after.
    Takes just some practice and ability to read scopes. Other than that it should be simple.
     
  4. It's amazing how you realize "the better the cinematographer, the less work needs to be done by the colorist." I've seen $1 million commercial campaign where a best-light dailies picture is literally good enough to broadcast. 80% of the important work is done in front of the lens: time of day, exposure, finding a great location, composing a perfect picture, blocking the actors to move into the best possible position, shooting during the right weather... there's a dozen factors involved.
     
  5. "Your colorist reel is as good as your clients material"
     
  6. Art direction and cinematography is a big part. However, once you check out how the light really was when they were shooting, it is clear that a lot was done in colour correction:

    http://www.moviestillsdb.com/movies/midnight-in-paris-i1605783

    Just take a look of Owen Wilson walking along the Seine or the photos of Versailles or Carla Bruni and Owen Wilson walking in the gardens of Musée Rodin.

    Same with To Rome with Love:

    http://www.moviestillsdb.com/movies/to-rome-with-love-i1859650

    The Capitoline Hill scene, the Trevi Fountain scene, the scene at the Villa dei Quintili.
     
  7. I think that giving consistency to all the shots in the film may be the most part of the colorist work in some cases.
     
    Marc Wielage likes this.
  8. Not sure who said it but yes it was something like that: "It is easy to make one shot look like Monet but try to do it in sequence"
     
  9. I've usually heard it referred to Rembrandt -- as in "every frame a Rembrandt" -- but yeah, doing 150 shots in a row and making it look like a seamless scene takes a ton of work. Especially when it's shot under difficult conditions.
     
  10. Yeah, that was the one i meant.

    "Make your sequence to Rembrandt and not Dali "
     
  11. Maybe we should just not match shots and call it 'surrealist'. So much time saved.
     
    Margus Voll likes this.
  12. I see shows like that on basic cable... :eek:
     
  13. Marcus and Marc, you two really like sayings, don't you? :D

    The colourist of both films indeed is an artist, and I really like what he did. His name is Joseph Gawler, and you can check his IMDb page.

    I have to say that I'm a bit surprised that the Greek-video thread has as many replies as it does, but that this one doesn't really have all that many.

    Where does the problem lie?

    No one has any ideas as to what might have been done to this imagery, in Paris, for example, to get that beautiful, soft, yellowish glow? Or how they made white sunlight red (check the Villa dei Quintili scene on MovieStillsDB.com and here http://movie-tourist.blogspot.com/2013/01/to-rome-with-love-2012.html or the scene at the Piazza del Popolo)? How did the Haussmannian buildings of Paris, with their greyish limestone facades, get this beautiful pale yellow colour?

    Sam Gilling would probably hate the yellowish sandy pathways and sidewalks.

    Perhaps Chris Hall will pop out of nowhere and do a wonderful scientific analysis of a few shots with colour-scheme diagrams and waveform scrutiny.
     
  14. P. S. Have in mind that the colours on Movie Tourist blog look different from those in the films.
     
  15. Ian showed up.
    Happy to start being known for something!

    From looking through that group of stills you posted last, they seem to have shot the entire film at or around sunset which gives everything a pretty natural golden glow on its own. My issue with the look in the music video thread is that it didn't match what was in the frame; everything's artificially yellow rather than naturally.

    Edit; another thing I don't like about the shot from the other thread is the framing. Move the camera a yard to the right, angle it 15 degrees to the left and you'd frame out the ugly cars in the background, which'd do wonders for making the overall classicy sunsetty look work imo because you wouldn't have a bunch of unsightly creamy objects in your frame.

    Lazily done but I think by taking them out it makes things look a lot better straight away.
    2ypajcp-2.jpg
     
  16. Here are some comparisons:

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  17. You should get the look relatively fast when using scopes and have some experience.

    So if you split screen stills you have and balance by scopes you are almost there?

    Should be relatively simple as there is no complicated super masked look as Marvel stuff has.
     
    Marc Wielage likes this.
  18. Ok Alex......

    Shot on 35mm by Darius Khondji, graded on the Lustre by Joe Gawler in 2011.
    It looks to me like Joe primarily used printer points and saturation to swing the images yellow / red to emulate a photochemical grade.
    Great work, beautiful film….
     
  19. the leaves are definitely keyed out, so it's not just primary grade
     
  20. I would do general look and feel an then would push details like leaves and similar.
     

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