How to get this film look ? Tony Scoot "Domino"

[fouadelbali]

[Phil Rhodes]

I love this stuff.

 

It's very high contrast and high saturation, which is something you could try to achieve by shooting reversal film stock, traditionally, but there isn't much of that about at the moment. Happily, electronic cinematography has long been accused of lacking dynamic range, so it's entirely feasible to do achieve similar ends with a bit of contrast and saturation in post. Just shoot to avoid clipping.

 

That'll only get you part of the way; the rest of it is production design, light and filters, although I'm not convinced there's much filtration going on here. The last shot is all about choice of location and the weather. It would have of course looked entirely different under overcast skies. The first shot of the girl in the pool might have a bit of fill on the left hand side of her face, and the key might be diffused a bit, but not much. Again, it's the choice of the blue pool and her warm skin tone.

 

The interior appears to be lit to create the green-yellow colour separation. Gels.

 

P

[David Mullen ASC]

The green cast is a side-effect of cross-processing Ektachrome reversal but it can be simulated in a digital grade, as "Domino" had to -- they didn't shoot the whole movie on color reversal, there was also a lot of color negative shot. But I think all those frames posted were from cross-processed reversal footage.

[Stuart Brereton]

Personally, I prefer Paul Cameron's work on Man on Fire to Dan Mindel's on Domino (both for Tony Scott), but that may be because Man on Fire is a much better, more coherent film.

These frame grabs are lovely though.

[Phil Rhodes]

 

 

The green cast is a side-effect of cross-processing Ektachrome reversal

 

I doff my hat to your experience.

 

Although - ektachrome isn't actually available anymore, is it? Strikes me as a slightly risky approach as the results are presumably somewhat unpredictable.

 

Perhaps I'm just an After Effects luddite.

[Stuart Brereton]

Cross processing is inherently unpredictable, but careful testing and a consistent methodology in lighting and exposure can minimize this. Given the nature of the rest of the camerawork in this movie (handcranking, double exposures, etc) any unexpected results from the cross process would likely have been viewed as a benefit.

[Tom Sugden]

You can get a pretty convincing cross process effect using curves - usually adding a S curve to two channels and an inverse S curve to the third. A quick google of 'cross process curves/photoshop' will yield plenty of examples.

 

Experiement, but you'll probably want to reduce the blue in the mids/highs to throw it yellow, and reduce the red/lift the green in the shadows.

 

Then contrast and saturation to 11.

[Adrian Sierkowski]

Where's the fun in this when you have an undo button

[fouadelbali]

What you think about this ??

Before

After