Thursday, 30 April 2009
The colours I use in a film are always really important to me. In animation everything is made from scratch, and choosing the palette is like being your own cinematographer with total control over every aspect of light, shade and weather patterns. Not that we're meglomaniacal control freaks or anything...
I like to restrict my colour palette, and because I work digitally I will choose the palette in the software package that I'm making the work in and then stick to it.
In The Beloved Ones I chose browns, oranges and burnt yellows, with lots of scanned materials. In An Eyeful of Sound so much of the visuals are dictated by the responses of the synaesthetic subjects that it is kind of more vital to have an overarching consistency, to stop the film from running away with itself.
Anyway, Adam (the composer) and I decided to divide the film into three distinct sections which have different moods and pacing. The palette therefore is actually three seperate but (hopefully) complementary palettes, each of which describes a different aspect of synaesthesia. The images here are a still from The Beloved Ones (2007) and a scan of my sketch book reference of the colour palettes when I was toying with ideas of how to do it.