Colorist / Color Correction
ConfidentialLos Angeles, CA
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Need color correction on a 7 minute short film. Shot entirely INT, not an enormous amount of work but we do need someone who can stabilize the aesthetic a bit.
Logline: When two hitmen stage a job during a wedding reception, they find themselves at odds with each other and their uninvited guests.
Note from director:
''Messy'' was always intended to have a filmic presence and appearance. From the decidedly suave outer wear of our actors, to the subtle, muted elegance of their surroundings, the story is set in a place that is familiar yet distant.
I wanted the lighting to convey warmth in a dark place, in harmony with the story's dichotomy of representing comfort and humanity in characters who are dangerous and despicable.
The harsh distance between two people taking up an entire room harkens the cold elitism and hardened hearts of the classical wealthy couple dining together, each seated at the bookends of a long, gothic table.
Our consistent use of tripod over handheld is meant to evoke a sense of confidence, in which our actors' body language and facial reactions expressions move the story more than the actual camera. I grew up on the classic films of Sidney Lumet's ''Serpico'' or ''The Verdict'', as well as Quentin Tarantino's ''Reservoir Dogs'' and ''Pulp Fiction''. I aimed to mimic their examples of grim stillness capturing busy dialogue; dialogue that paints the characters' inner workings, while the body language is subtext. The body provides the breadcrumbs to places we've yet to trespass.
The color palette was intended to be gray, brown and black with warm lighting to illuminate the bright contrast of something like a piece of wedding cake or the stark whites of both men's dress shirts. I've seen this done in the moodiest of television, like a ''House of Cards'' or ''Mr. Robot''.
And while our setting is dire, I am an actor's writer and assembled the characters to drive the pacing. The early moments are chatty but calm, like the fantasy draft ramblings of a man cave conversation. The turns have problematic implications that lead to slow and deliberate ''knife twisting'', like that of a psychological thriller. And the dialogue, when contentious, can embrace Aaron Sorkin's verbal waves that are emotionally centered but erratically delivered, like the ping-pong match between Rooney Mara and Jesse Eisenberg in the opening scene of Fincher's ''The Social Network''.