Colourist Rob Pizzey played an important
role in developing the looks for the different locations and timeframes in the
story and overall mood.
They use different types of cameras to film
it, so it looks different in each frame. “There were a few shots on one camera where the highlights were a
little hot, so I created a layer that would isolate them and allow me to tone
them down a little,” he said. “The home movie footage was low resolution so I
just tried to pull out as much information as possible. The archive news
footage was extremely saturated. I backed the colour down on this.
Bold Contrast
Through the grade, Rob was able to
contribute to the director’s themes of deception and self-deception, clarity
and ambiguity, and intentions to introduce elements and tones of a thriller
into his documentary. “Bart explained that he wanted the reconstructions to be
distinctive and stand out against the interviews. We used bold contrast and
colour manipulation to achieve this and highlighted various parts of the image
to draw the audience into the journey. Depending on the context, I simply
emphasised elements of what Erik had captured in the frame,”
Rob said. “We used a lot of power windows
and tracking shapes to mould the image and increase the dramatic impact, adding
more shadow and texture. I also used colour isolation in the frame to play
certain colours off against each other. It will lead the audience focus on the things
that director want the audience to see.
Locations were also graded subjectively at
times. The looks created for San Antonio, Texas, where Nicholas Barclay’s
family live, change quite a bit throughout the movie, with a glowing early
morning look, and wide blue skies with white clouds. Erik Wilson noted that a
specific location among the re-enactments was at the town’s square with a
telephone box in the middle, where the narrative returned several times, needed
a special look.
Rob said, “I wanted to really pull out the
skies in the grade to make them stand out against the landscape. We have some
classic evocations of the American panorama in the shots, such as highways, diners
and so on. Most of the locations were enhanced during the grading process to
give a hyper-real feeling, especially the flashback sequence when Frederic is
recounting the first time he meets Nicholas’ sister as she shows him the family
photos.
Light and Shadow
To help with some fairly complex dissolve
sequences with multiple layers, Rob graded each shot separately and rendered
out to the Smoke for the online editor to composite together. “We then viewed
the sequences back in the DI theatre and tweaked the opacity of each layer to
make sure that each element stood out at the right time,” Rob said.
As the film was shot digitally, they
carried out grain addition tests on the footage to make it appear more filmic.
Color adjustment plays a very important
role in the movie, it can change the picture quality, and reshape the image of
feeling, even can build a different atmosphere, so that it can achieve the
director's requirements. It also can add some interesting elements for films to
enhance the story.
Adriene Hurst, 2013. THE IMPOSTER – Colour
of Deception [online]. Available at: http://www.digitalmedia-world.com/Features/the-imposter-company-3-rob-pizzey?utm_medium=twitter&utm_source=twitterfeed
[Accessed 1st April 2013]
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