We have our first correction here at Movies In Color and it came as a very pleasant surprise. The peaceful and beautiful setting is achieved by combining mostly blues, greens, and yellows in both the field and the sky, unifying the frame and reflecting a sense of peace. This still from Only Yesterday captures a mood through its use of color. The outside is vibrant and clear, using blue to create a peaceful and bright atmosphere. The interior of the train feels cold and foreboding and uses darker tones of bright colors (reds, purples) to give the audience a sense of the unusual. Spirited Away carefully combines dark and light hues and a contrast of colors to tell its story. By putting the character of San front and center and setting a mood with the fiery bold background, this still effectively communicates emotion through its palette. The overall palette communicates night-time without overusing dark colors and blends purple hues effortlessly.īased on primary colors, this still from Princess Mononoke feels bold and eye-catching. The purple and blue hues are inviting but suggest depth, action and contrast nicely with the characters’ faces. The palette for this still from Castle in the Sky shows a versatile way to paint a night scene. There is also an inherent softness to the colors that helps them all blend together, despite their boldness. One of the more boldly colorful and childlike films, Ponyo masterfully combines a multitude of bright colors fitting for its universe. From the yellows and bright greens in the forest to the bright blues and turquoises of the seascape, there is a clear intention to let the environment take center stage. Each still’s location is vibrantly represented. Natural settings are highlighted in both palettes for when Marnie Was There. Check out their post and read a bit about each palette below. I am very stoked that the kind people at LOVE featured the palettes as a brief retrospective. They’ve done Princess Mononoke, Spirited Away and many other amazing films and are masters at using color. I got to make some color palettes for the best animation studio around, Studio Ghibli, to promote their newest and, sadly, last film When Marnie Was There. We wanted the island to feel vibrant and inviting, like a 1960s James Bond villain’s lair.” We ended up pushing things a little further than those Toho films and really saturated the hell out of things, both in paint and fur choices during construction and fabrication, and in the post-production color sessions with our colorist Loren White. Mechagodzilla and Terror of Mechagodzilla, not to mention the wonderful and goofy King Kong Escapes ! I grew up watching many of Godzilla’s decidedly goofier outings, and my absolute favorites were some of the more technicolor-looking iterations like Godzilla vs. Harry and I are both enormous fans of old-school Toho monster movies, not to mention stuff of the Ray Harryhausen stop-motion variety. “When we started pre-production on Monster Island, we always knew that color was going to be an important component for the piece to succeed. ![]() Here is a bit of insight into the use of color in Monster Island from creator/writer/director Justin Michael. ![]() I made a few palettes to showcase their fantastic use of color and the clear parallel between the short and Toho monster films above. The color in the short is stunning and shows a clear attention to detail as well as clear inspiration from films like Godzilla vs. 99.9% stop-motion animation, 0.1% tiny live-action people! They also happen to be giant monsters imprisoned on an island. Take a trip to MONSTER ISLAND! Zog and Java are two best friends looking to throw the ultimate BBQ party. Monster Island came out today and you can watch it here! Today on Movies In Color, I’d like to share a stop-motion short film made by extremely talented folks. Created, Written, and Directed by Harry Chaskin, Dan Lippert & Justin Michael
0 Comments
Leave a Reply. |