![]() In the ending sequence with Brando, Storaro borrows from the paintings of Caravaggio, utilizing chiaroscuro lighting, a single light source that creates extreme contrast. By the end of the film, the use of color borders on surrealism. Then as the conflict moves deeper into the jungle, Storaro imposes an unnatural color (red) or a natural one (green) to visually represent the escalation of the conflict. During the opening scenes of this epic Vietnam War film, the colors are almost monochromatic. This is distinctly different than the visual interpretation of Francis Ford Coppola’s Apocalypse Now shot by Vittorio Storaro. ![]() This created the illusion they wanted, that there were several cameramen landing with the troops at Normandy. Without the coating on the lens, the light enters and bounces all around, creating flares, which diffuses the light and colors, and adds a haze to the image. Ektachrome film has a blue hue that is evident in Spielberg’s film. Spielberg wanted deeply saturated colors, an idea he attributes to watching 16mm Ektachrome Signal Corps footage documenting the invasion of France by the Allies. Kaminski stripped the coating off the lenses and flashed the film using the Technicolor ENR process to alter contrast. Kaminski’s collaboration with Spielberg on Saving Private Ryan included discovering different visual textures with a mix of film stock, lab processes and specialized techniques such as “the deconstruction of the slickness that you usually get with modern lenses” (Spielberg). But as the main character becomes more comfortable with his lifestyle in the terminal, the color becomes slightly warmer, a subtle way to underscore what the character is experiencing emotionally. His work in The Terminal gave us a realistic representation of an airport terminal, which is mixed with fluorescent and daylight, a somewhat cold environment. The use of cool colors such as greens, blues and violets punctuates the cold or isolated aspect of a number of the films Kaminski shot for Spielberg such as Minority Report or AI, which had very blue hues to them enhancing the science fiction aspect of the story while creating a non-welcoming environment, a sense of isolation. For me, finding a visual approach that’s relevant to the story is the part of my work that’s the most fun.” ( American Cinematographer, July 2004.) Sometimes cinematographers get caught up in doing lighting that looks nice but doesn’t reflect the story. “The story is always the most important aspect of my work, and it always leads me to find the visual style that works for a given movie. ![]() Janusz Kaminski who has collaborated with Steven Spielberg on ten films says: They also extensively test specific film stocks in similar situations to what they will be shooting and screen them with the director prior to production beginning. Cinematographers utilize the proper selection of film stocks to provide the visual look appropriate for the story they are telling. Tungsten film and light has more amber tones to it, so naturally provides a warmer look. Daylight and HMI’s create a blue light, which, of course, is reflected in the nature of daylight film stock. Natural daylight provides a bluish hue, mixed with the greens of foliage. Using the color in its purely saturated hue gives us the Dick Tracy comic book effect, or the brightness of color in animated films. By adding blacks we de-saturate the color and by adding whites it is brightened. But saturation is affected by brightness levels, how much white or black is added to the pure color. A color in its purest form is saturated, unaffected by other colors. When cinematographers and directors discuss the interpretation of the script, it is inevitable that the color palette and look of the film will be discussed early on. The cinematographer’s job is to interpret the screenplay in a visual form and to guide the viewer’s emotions through color, light, shots, angles and movement. Warmer colors are generally used in comedies, love stories, family stories, and in some drama films. Cool colors are generally used in science fiction films, murder mysteries, suspense films, and in some action and drama films. Warm colors are reds, oranges and yellows. Cool colors are violets, blues and greens. Understanding the basic components of color, warm colors and cool colors, as well as how the audience responds to these colors is essential. The color palette of a film is a subtle way to visually enhance the emotional aspects of a film and guide the viewer to respond to it on a visceral level. Examining the Color Palette of Film: The Impact of Color and Its Use by Cinematographers by Jacqueline Frost
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