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Color Palette Cinema  Color can affect us psychologically, often without us being aware, and can be used as a strong device in a story. 📥| DM for requests. 👇 Facebook 👇

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"Children of Men" (2006).
•Directed by Alfonso Cuarón
•Cinematography: Emmanuel Lubezki •Production Design: Jim Clay, Geoffrey Kirkland
•Colorist: Steven J. Scott

@MissionDigital spoke to Shelly Johnson, ASC (@shellyjohnsonasc) about the process of working with Mission Digital on "The Hurricane Heist", which was initially called "Category 5" "I was very excited to work with Mission Digital on Category 5. They demonstrated a real desire to be involved with the project and were all-in from the start. Since we were prepping in Bulgaria, I met Chris Nunn (Mission Digital DIT) over Skype and had a chance to get to know his aesthetic and get an appreciation for is positive attitude and exceptional work ethic. Mark (Purvis CEO at Mission Digital - @MarkAtMission) was very helpful in facilitating the type of custom color set up that I wanted… and he did incredibly detailed preparation from long distance. The reason that I don't use a DIT is that it distracts me from my full-time job as a Director of Photography. On my first digital project, I used a DIT but felt I was pulled away from the Director on the set when he needed me… all for the reason of grading dailies.
I decided, from that point on, to develop a more film-like workflow where we view the camera image on-set through a simple viewing LUT, then perform proper color correction at night per my grading instructions… just as we did when we were doing telecine film transfers a few years back. In this case, I can drop-in on the grading suite and sit for a few minutes each night, work with Chris and get the dailies right where we wanted them. All this while being able to give the Director 100% of my attention on-set. What happens in this scenario is that Mission Digital becomes a key component in the authorship of the image. They aren’t button-pushers or drones following exacting instructions, but more collaborative artists that make daily decisions that affect the mood and storytelling of the movie. They get a sense of ownership and feeling of pride in the creation of the image that reminds us why we all love working in movies. We then become a united front with the goal of putting the best image possible up on the screen for Rob (Cohen - Director of "The Hurricane Heist"). "

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"The Neon Demon" (2016).
•Directed By Nicolas Winding Refn
•Cinematography: Natasha Braier
•Production Design: Elliott Hostetter
•Costume adesign: Erin Benach
•Makeup: Erin Ayanian
•Colorist: Norman Nisbet

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"Black Narcissus" (1947).
•Directed by Michael Powell Emeric Pressburger
•Cinematographer: Jack Cardiff
•Production Design: Alfred Junge
•Costume Design: Hein Heckroth

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"American Beauty" (1999).
•Directed by Sam Mendes
•Cinematography: Conrad L. Hall
•Production Design: Naomi Shohan
•Costume Design: Julie Weiss
•Color Timer: Phil Hetos

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"Her" (2013).
•Directed by Spike Jonze
•Cinematography: Hoyte Van Hoytema
•Production Designer: K.K. Barrett
•Costume Design: Casey Storm
•Colorist: Mats Holmgren, Jack Lewars

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"Nightcrawler" (2014).
•Directed by Dan Gilroy
•Cinematography: Robert Elswit
•Production Design: Kevin Kavanaugh
•Costume Design: Amy Westcott
•Colorist: Sofie Friis Borup, Stefan Sonnenfeld

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"The Assassination of Jesse James by the Coward Robert Ford" (2007).
•Directed by Andrew Dominik
•Cinematography: Roger Deakins
•Production Design: Patricia Norris and Richard Hoover
•Costume Design: Patricia Norris
•Color Timer: Terry Haggar

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"Dog Eat Dog" (2016).
•Directed by Paul Schrader
•Cinematography: Alexander Dynan
•Production Design: Grace Yun
•Costume Design: Olga Mill
•Colorist: Tim Masick

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"Edward Scissorhands" (1990).
•Directed by Tim Burton
•Cinematography: Stefan Czapsky
•Production Design: Bo Welch
•Set Decoration: Cheryl Carasik
•Costume Design: Colleen Atwood
•Color Timer: Dennis McNeill

"The Guernsey Literary and Potato Peel Pie Society" tells the story of Juliet Ashton (Lily James @lilyjamesofficial) from war torn London to the island of Guernsey where the community are still dealing with the legacy of the Nazi occupation.

@MissionDigital spoke to DOP Zac Nicholson BSC @ZLNicholson about achieving the look for the film. “The North Devon coastline provided a wild and relatively undeveloped backdrop where we were able to emphasise the natural, rugged, beauty of the countryside whilst avoiding anything too overly saccharine.

Juliet Ashton undergoes an emotional journey as she struggles to find her place in the world which we attempted to reflect in the quality and colour of the light from urban smog to the fresh and natural climate of Guernsey.

In order to achieve the look I worked closely with Iain Mackay, a gifted camera operator and regular collaborator who made a huge contribution as did colourist Adam Glasman at Goldcrest.
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Mission Digital provides innovative workflows to the motion picture industry, ensuring that the vision of the Cinematographer is represented in the picture everyone views whilst maintaining maximum integrity in the digital negative.

Mission Digital talent on the "The Guernsey Literary and Potato Peel Pie Society" production included DIT Harry Bennett-Snewin (@TheSnew) whilst while Alec Garner, Julia Roestel and Josh Unwin(@joshunwin) ran the digital dailies lab. The proprietary Mission Digital technology "Easel" was used to view cloud dailies.
Please follow @MissionDigital and make them part of your vision.
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•Directed by Mike Newell
•Cinematography: Zac Nicholson
•Production Design: James Merifield
•Set Decorator: Sara Wan
•Costume Design: Charlotte Walter
•Colorist: Adam Glasman

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"The Dreamers" (2003).
•Directed by Bernardo Bertolucci
•Cinematography: Fabio Cianchetti
•Production Design: Jean Rabasse
•Costume Design: Louise Stjernsward
•Color Grading: Yvan Lucas, Fabien Pascal

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