![]() ![]() As the artist grows the content of their work shifts and just as the content of Tyler’s music has shifted and his story lines have developed, his color palette has followed suit. Visual artists, presumably filmmakers of any kind, use color to translate story lines into real life emotions. Tyler makes sure the OF boys get their shine and you’re bound to have a Bill Murray sighting in a Wes Anderson production.Ĭolors make us feel stuff. They both pull from the same pool of talent. Robert Yeoman and Wes are attached to the hip in the way that Luis Perez and Tyler are which provides a level of continuity throughout. Both Wes and Tyler use the same respective DP's for each and every one of their bodies of work. As an avid Tyler/OF fan and die hard Wes Anderson obsessive I find myself drawing parallels between the work Wes does and the visuals Tyler creates. Tyler the Creator, leader of the infamous Odd Future gang, is as meticulous with his use of color in his music videos as Anderson is in his films. Robert Yeoman, his tried and true Director of Photography has been able to transform ordinary scenarios to extraordinary worlds. From the calming blues of The Life Aquatic to the pastel yellows of Moonrise Kingdom and the bubblegum pinks of The Grand Budapest Hotel, Anderson has never been one to shy away from color. But perhaps one of the most famous directors known for his meticulous color palette is Wes Anderson. Quentin Tarantino uses yellow in Kill Bill as a way of conveying instability and hope within the protagonist. In The Shining, Stanley Kubrick plays with warm colors making the viewer feel welcomed in this fictional world and by adjusting saturation accordingly reminds them that there is something a bit off happening. You can manipulate a scene in such a way that it will force your audience to pay attention to what it is you want them to pay attention to and ignore what is not important. Not because she’s behaving strangely but simply because she is in red. The filmmaker has increased the saturation of her red dress just enough for you to want to know more. Hundreds of people and yet your eye is drawn to just one. Everyone has on their work attire so think khaki colors and navys and an abundance of black. Truck loads of people running around trying to get home. ![]() The opening scene is shot on a busy street in Midtown NYC. Imagine you are watching a motion picture. What emotions come to mind? Passion? Anger? Love? Red is a bold color choice. It is the colorist’s job to alter and correct the colors that appear on your screen, frame by frame, shot by shot, making an attempt at aligning the footage itself with what we would perceive these colors to look like in the real world. Dave Markun, a colorist in film and tv, talks about this “rulebook of emotions” in which he believes that every color serves a different purpose and when used correctly can evoke a particular emotion within the viewer. Film and TV are media known for their use of color with the hopes of manipulating the audience’s perception of what it is they are seeing and, in turn, feeling. Color is a way for artists to translate their ideas to their audience. ![]() ![]() It’s a useful cue for telling us about people’s social condition and our environment.” Wellesley College neuroscientist Bevil Conway tells Fast Company that color impacts the way we feel and the way we interact with visual stimuli. “We’re biologically wired to care about color. ![]()
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