jdmoviemaker
Well-known member
Thats a really nice look, you can mess with the hue, blacks and gain a bit in post
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And lighting. You'll see in Potter & Underworld all the time where the walls are kissed with blue light and the fill on the actors is gold.
For the blue look you usually see in films, all three conspire together for maximum impact - art direction, lighting, post. Also in post you can do selective grading.
Here's my stab at it from my film BONE HAND.
Basically I restricted the palette to blue ad gray as much as possible. Then I used the selective color tool in FCP's Color Corrector to select skin tones and exclude them from the blue tint.
I then used another FCP Color Corrector to again select the skin tones and tweak them without tweaking the blue.
Wood and Red will also be selected unless you use masks and layers to exclude them, as you will see below.
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Wonderful article link!
For those who are curious about doing this in camera, it can be done, although with increasing difficulty the wider the shot. I've shot films where I know the colors were going to go warmer in post production, to attain a certain look to the characters world. These were exteriors where I couldn't light the face balanced and the background warm... so we had to warm it in post.
Knowing the skin tones would go with the slide toward warm, I cooled down the light on the actors faces. (the only element I could control.)
In post we saved power windows and colorist time, because we shot daylight balanced, with the background reading correctly balanced, but the light on the actors was extra cool. When we slid the overall look to warm, the background turned warm while the cool faces balanced to correct balance or slightly warmer depending on how much we cranked it.