Colour grading can make or break the look of a film. In recent years, much criticism has been aimed at blockbusters for being “too dull” or “too grey” and viewers have become disenchanted, no longer being immersed into other worlds like they once were.
Recently, the film adaptation of acclaimed musical Wicked has come under fire for lacking the technicolour magic of the original 1939 The Wizard of OZ. Whereas that film had a magical colour palette that heightened its fairytale world, some Wicked fans are disappointed that the trailers show a less colourful land of OZ. Some have argued that this is because of the musicals darker take on the characters, however, even fantastical places like the Emerald City & Yellow Brick Road seem void of the colour they deserve.
Technicolour was a series of chemical processes used on film footage to produce realistic colouring for films. The process was discontinued in the latter part of the 20th century because of its expensive costs and complicated operation. Technicolour shot three strips of film at a time, so the cost of film was tripled.
This year’s Beetlejuice, Beetlejuice is the perfect example of how films can still look vibrant and great. It promises a vibrant return to the exciting world from the first film, even if the digital sheen replaces the pleasing grain film provides.
Marvel Studios are also commonly criticised for their colour grading with many of their big films looking lifeless and even being compared to “dishwater”. Arri Alexa’s – a digital camera – are often used by big studio’s such as Marvel. The problem with Marvel’s output is that they don’t colour grade effectively enough to boost the digital footage the Alexa captures, which is why they are left with those grey “dishwater” images. For some, this destroys the film. A superhero aesthetic should be full of colour and vibrant like a comic book, not a mushy mess. It’s just lazy.
Although, colour grading does depend on the type of film you are making. A realistic drama may not be suited to the same colour palette as a fantasy film like Wicked. As Roger Deakins put, “It’s easier to make colour look good, but harder to make it service the story”. There are films such as La La Land which tries to re-create the magic of technicolour and blockbusters like The Batman use colour, or lack thereof, to add to the story’s aesthetic.
Make film colourful again.
Image credit: Lionsgate UK
He/Him
Arts Editor 24/25
Press email: arts@brignews.com
