After conducting the natural lighting test and experimenting with colour correction settings within Apple Color, I thought it would be suitable to investigate into the grading used within David Finchers films, so that they can be matched within my final piece. I came across a number of screen shots from both 'Se7en' and 'The Social Network' and will explain and analyse the colours and grading techniques used to achieve that specific visual style.
SE7EN
Screenshot from David Finchers 'Se7en'
From the above image, it's clear to see that David Finchers films are very dark and contrasted. This can easily be achieved in post as long as the original footage is correctly exposed and lit. The reason for this is is the images are too dark, and need to be pushed in Color (usually by adjusting the shadow, midtone and highlight levels), large amounts of grain will appear in the image. This is because we are trying to add data to the image that isn't there, causing digital data to be created, thus meaning grain is added. This could also be the case however during the shoot. If incorrect lighting is setup and the ISO of the camera is adjusted to allow more light, the image again will become very grainy. It would probably benefit if I created an ISO test with my camera also to see what level of grain is added at different ISO levels.
Looking closer at the image however, it's also very clear to see that the image is very green. What should be bright white lighting above the characters head is in fact a very pale green colour. This is also common for the majority of the highlight and shadow areas of the image, with each of them being either a light or dark green shade. The midtones however (such as on the far right wall column and the characters face) are quite orange and warm.
Screenshot from David Finchers 'Se7en'
Looking closer at the image however, it's also very clear to see that the image is very green. What should be bright white lighting above the characters head is in fact a very pale green colour. This is also common for the majority of the highlight and shadow areas of the image, with each of them being either a light or dark green shade. The midtones however (such as on the far right wall column and the characters face) are quite orange and warm.
Screenshot from David Finchers 'Se7en'
From the above image, the lighting and colouring within the scene can easily be depicted. The background area of the image is completely black showing no detail whatsoever. Morgan Freeman's character has only a small area of his face visible, clearly showing that he is only lit from one angle. The colour grade has clearly more blue data in regards to the previous shot that is far more green and orange. This gives it a slightly colder feel which is amplified by the shot also being quite desaturated, reducing the amount of vivid colour within the shot. The desaturated colour is common throughout the film, and is also common in Finchers other work such as the 1999 film 'Fight Club' and his latest film The Social Network.
THE SOCIAL NETWORK
THE SOCIAL NETWORK
With this being Finchers latest film (with the cinematography conducted by Jeff Cronenweth), it's interesting to see that the same colour grade technique and visual style has been applied to this film. I suppose this makes Fincher an Auteur in terms of visual style and grading, as the colour scheme is a trait that is common throughout his work. In fact if a film was put in front of me that had the same colour grade, I'd immediately think of David Finchers work.
Screenshot from the 2010 film 'The Social Network'
The dark, contrasted colour scheme returns within this film, and is especially noticeable within the interior shots throughout. The shadow areas are completely black in some cases, which can be seen on the chair and coat of Jesse Eisenberg's character, as there are no clear distinguishable difference between the two, which again is common in the previous image from Se7en. The lighter areas of the shadow detail and low areas of the midtones detail are also very green, with the higher midtones and highlights being that familiar orange colour and warm tone. Although this colour scheme is predominately green and orange (mixing both cool and warm colour within the colour spectrum), it doesn't feel as if the colours are incorrect, as obviously they are colours which we do not see in the real world.
Screenshot from 'The Social Network'
Exterior shots retain much more colour information than the interior shots, with a slightly lower green tint to them. The water shows how desaturated the image actually is, with the colours being close to a grey/dark blue spectrum. It gives the impression that Fincher portrays outdoor scenes to be much colder than the interior scenes, possibly showing the fact that interior shots have some sort of warm 'homely ' feel to them. However this isn't always the case, as although the colour correction is constant across each shot, it does change slightly from time to time.
Screenshot from 'The Social Network'
Screenshot from the 2010 film 'The Social Network'
The dark, contrasted colour scheme returns within this film, and is especially noticeable within the interior shots throughout. The shadow areas are completely black in some cases, which can be seen on the chair and coat of Jesse Eisenberg's character, as there are no clear distinguishable difference between the two, which again is common in the previous image from Se7en. The lighter areas of the shadow detail and low areas of the midtones detail are also very green, with the higher midtones and highlights being that familiar orange colour and warm tone. Although this colour scheme is predominately green and orange (mixing both cool and warm colour within the colour spectrum), it doesn't feel as if the colours are incorrect, as obviously they are colours which we do not see in the real world.
Screenshot from 'The Social Network'
Exterior shots retain much more colour information than the interior shots, with a slightly lower green tint to them. The water shows how desaturated the image actually is, with the colours being close to a grey/dark blue spectrum. It gives the impression that Fincher portrays outdoor scenes to be much colder than the interior scenes, possibly showing the fact that interior shots have some sort of warm 'homely ' feel to them. However this isn't always the case, as although the colour correction is constant across each shot, it does change slightly from time to time.
Screenshot from 'The Social Network'
In this shot, the colour information retained is far more vivd than the previous exterior shot shown, although the colours are still slightly desaturated. There is much more blue information in the sky areas, and the shadow details is still graded a very dark green colour. Contrast is still heavily noticeable within the scene as well, so all these factors must be considered when completing my final assignment piece.
It's clear to see that David Fincher's films have a common visually pleasing style, which is something that really needs to be focused on in my final assignment. Over the coming the days I will upload a grading test, that focuses more on the colour side and grading aspects of the film.
It's clear to see that David Fincher's films have a common visually pleasing style, which is something that really needs to be focused on in my final assignment. Over the coming the days I will upload a grading test, that focuses more on the colour side and grading aspects of the film.
