As a colorist, I spend most of my waking hours in a dark room staring at high-end displays, tweaking curves, and obsessed with the “emotional logic” of an image. We often talk about color science and DCTLs, but sometimes a… Read More »Harakiri (1962) – Cinematography Analysis
Hey everyone, Salik Waquas here from Color Culture. I’ve been wanting to sit down and dissect the cinematography of The Lives of Others (2006) for a while now. As a colorist, I spend most of my days staring at waveforms and stressing… Read More »The Lives of Others (2006) – Cinematography Analysis
Most people remember Dr. Strangelove for Peter Sellers’ legendary triple performance or the dark satire. But as a filmmaker and the owner of Color Culture, I find myself obsessing over something else entirely: the density of the blacks and the geometry of… Read More »Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb- Cinematography Analysis
It’s been over two decades since Park Chan-wook unleashed Oldboy, and frankly, it still schools most modern productions on how visual language should work. I’ve been staring at scopes and grading monitors for years, but every time I revisit this film,… Read More »Oldboy (2003) – Cinematography Analysis
Cinema Paradiso is often hailed as a “love letter to cinema,” but from a production perspective, it is a masterclass in visual memory. For those of us working in post-production, particularly at Color Culture where we obsess over image texture, this… Read More »Cinema Paradiso (1988) – Cinematography Analysis
Alright, let’s talk about Grave of the Fireflies. As a film colorist, I spend my days dissecting images, analyzing how every hue, shadow, and highlight contributes to the story. But sometimes, a film transcends technical analysis, hitting you on a purely… Read More »Grave of the Fireflies (1988) – Cinematography Analysis