The next series of articles, are a collection of thoughts and recollections of how the evolution of color correction/color study as led us, as an audience, critics, filmmakers, to discern one style of movie from another, to further enhance and comprehend the message that is being portrayed in the art-form and, in some cases, where that movie is coming from or even going to.
As an introduction, I will write about the beginning of color correction, some human principles of communication, the advent of digital color grading and, in the present, the complete and utter corruption and adulteration of filmic and artistic representations of reality.
We, as a species, can distinguish an enormous gamut of different colors, tones, etc.
That ability is determined by our extreme sensitivity to a certain part of the electromagnetic field (the visible spectrum), and its variation, the reflection, refraction, blending or bending of light that is captured by the world and registered by our eyes.
This innate ability to distinguish certain parts of reality through its visual pigment makes us, in our planet, a rare breed, and lets us communicate between ourselves, by simply combining, adulterating or even sequencing color to deliver our messages (as a part of vastly different types of communication).
Since there’s been communication, there’s been coloring.
From the different shades of black, brown, red and silver, existing in the prehistoric caves to the beautiful blending of water colors in paintings, the disturbing printings of color in propaganda posters and the corruption of realistic color palettes in modern film, Man has always put color to its vision/representation of its world.
Since there’s been a representation of reality nonetheless, there’s also been color correction, rather coloring over the visualised reality.
Color grading, or color correction as it is known to the public, is a process where by means of a digital work-flow, or analog one, the native color of an image, situation, place is adulterated into something composed.
Film, like any higher art form, has always been keen on collecting and decomposing its influences, undermining and sometimes completely ignoring, where and why they have come to be.
In film, Color Grading started when the tinting of the frame was first introduced (a process that began in the 1890’s), and later established, where by means of different emulsions of film, certain acids/bases gave the frame different color variations.
When it all started, color grading/correction, was a means to create a more realistic view of reality.
With the evolution of the art-form, grading helped propel cinema to hights of a meta art, something that as art represented not only the art and the reality itself, but another layer of interpretation of reality that made audiences infatuated with it. But, with the advent of the nickelodeon and the necessity of profit over the art, an industry was created.
That industry, like any industry after the industrial revolution, had to be as profitable, and as effective in its exhibition of message as possible. By itself, the industry needed to survive by the flow of funds, and by the ability to exhibit the product to as many people as possible, as many times as possible.
Other sophisticated tools have been created and adapted to further propel cinema as a worldwide billion dollar making industry, but color grading, being so subtle and unnoticeable, has been a tool, that can easily demonstrate the evolution of the art-form, and objectively dissect our ability to manipulate each other as a species.
Psychoanalysis and psychological manipulation through electrical currents, image shifting, color aberration theories and other scientific methods have been used since the beginning of the 20th century to study human beings, and our ability to communicate with each other.
This level of scientific research and its possible use in studying our innate reactions to centuries and centuries of patterned communication, has given filmmakers immense power over what they show, how they show and to whom they show their movies.
Color study, in labs, and later in film (controlled crowd testing, advertisement testing, etc), gives the creator an immense ability to communicate to the audience subliminally, most of the time, without the audience knowing about it.
How did the colors influence you while reading the text?
Slow start, “interesting” and “aggressive” middle and calm ending was it?
Or didn’t you even notice the colors?