The Blues, the Devil, and Color

In the making of our 2012 short film, Lucifer's Agreement, the tone of script spoke volumes on how the coloring should be constructed. Feelings of depression and sorrow come forward instantly. I wanted to bring forth shadows as much as possible while retaining the dark orange/ reddish glow of the kitchen to mirror Tom's emotional state. We lit the scene by only filling the main areas of the kitchen with light, and allowing darkness to fill everywhere else. Isolation, even at home. In post, I added shadows and adjusted the contrast slightly, assisting the overall notion further.

As Tom progressed to the cemetery, the feelings of isolation continued to grow....a single boy amongst the dead, one who was his family member. We spent two days filming the cemetery scenes, and we used natural daylight. In post, not only did I bring out the shadows and make things darker, but I added many blue and grey hues to the color pallet to pull the depressing emotions outward, showing us that Tom's thoughts have also gotten darker.

•Before Color Correction:

•After Color Correction:

Color is everything. It is swiftly associated by the brain with a feeling. When it comes to a work of art, the way one wants his or her audience to feel is key in telling the right story. Maya Angelou once said "I've learned that people will forget what you said, people will forget what you did, but people will never forget how you made them feel." The more emotion the audience feels, the greater their suspension of disbelief will be.


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