So let's talk about the 3 looks. The 50s..
The normal thing to do to get the look of the 50s is to use sepia. I really wanted to avoid that. I wanted the audience to be transported into that era. When there's a photo-album kept somewhere for 10-12 years, the images don't turn sepia. The colours fade off. So that's what I did in the first section, I drained out the colours, especially the red. And I was clear about not using any blue in the night shots, that becomes too Hollywood.
Then comes act two, the Late 50s..
The second section, the late 50s, has all the colours. Nothing hidden, no exaggeration. We go from desaturated to natural. This lasts for only a few scenes.
And after the interval come the 60s.
Yeah. The 60s are oversaturated. Technicolor. Like 60s Hollywood films, where the stock was very color-friendly, and the color bled, like in films like Cat On A Hot Tin Roof. This was very difficult.
The one man who deserves credit for this is my excellent grader at Pixion, called Rob. While I have a tendency of going overboard, luckily he has very European sensibilities. 'Let's not go beyond this,' he said, while I'd really made it Eastmancolor, where the colours were really bleeding. I thought it looked great but we felt that might really be taking away from the story and the emotions of the characters.
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