In the field of film, a unique visual look is like a fingerprint, distinctive and unforgettable. It’s the first impression that sets the tone, immerses the audience, and brings the story to life.
Even when penning a script, we’re thinking about how we want the final film to look. Everything from the colour palette to the aspect ratio the film will be shot in (e.g. ultra-widescreen) and lighting set-ups are things we carefully consider long before we pick up a camera and yell “action”.
One thing was clear from the outset when we began work on The Shamrock Spitfire, we wanted the visuals to transport our audience back in time to the charm and elegance of the 1930s and 1940s.
As avid fans of the classic “Technicolor” movies that defined that era, we were inspired by their vibrant palettes and timeless aesthetics. We wanted to try and capture that look.
Technicolor was a ground-breaking filmmaking process that utilized three separate strips of film, each capturing one primary colour: red, green, and blue light. These strips were exposed simultaneously using a special camera, and the colours were later combined during the printing process.
This unique method created the vivid and iconic look that characterizes classic movies from the 1930s and 1940s.
We watched hundreds of Technicolor movies (in our opinion, film has never looked more beautiful) and studied the characteristics and quirks of both the lenses used and the process described above.
In addition to the striking and saturated colours that Technicolor films are renowned for, we also noticed some distinctive traits. For example, bright light sources often exhibit a red glow, which adds an ethereal quality to the scenes.
The vintage lenses employed in these productions introduced optical aberrations like chromatic aberration or distortion in certain shots. Instead of detracting from the visuals, these imperfections enhance the character of the films, giving them an artistic and nostalgic appeal.
As the project took shape, the commitment to evoke the Technicolor aesthetic became the driving force behind all our decision-making processes, especially when it came to selecting the colors for our scenes, just as it was in the past.
In fact, this was considered so important back in the day, Technicolor employed a dedicated consultant named Natalie Kalmus from 1934 to 1949. Her role was to provide expert guidance to filmmakers on selecting the most appropriate colours for elements such as a woman’s dress or the backdrop of a scene.
The most pivotal step in emulating the Technicolor look was colour grading – the post-production manipulation of the image’s colour, tonal range, and even lighting. It is a time-consuming process, but then, all good art is something that requires patience and the willingness to experiment.
The enduring allure of Technicolor films lies in their ability to transform the ordinary into the extraordinary, using vibrant colours, vintage lenses, and subtle quirks to create a visual tapestry that continues to captivate audiences today.
In our quest to pay homage to this bygone cinematic era, we’ve been reminded that sometimes, it’s the ‘flaws’ and distinctive characteristics that make art truly timeless.
The film is currently in the sound mix stage and we hope to have it completed by the end of this year.
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