Color

Motivation

As we get closer and closer to final lighting, we need to communicate, share and unify our color assumptions to get an consistent direction to the color across shots and scenes of the film Color choices will vary by act, so lets go into it on that level.

Act I

We start on a station that is slightly elevated above the 'real'. Not so far gone to be completely surreal, this station has elements of strange, both in color and physical representation. For instance, it is wide open to the outside, but nobody other than gilgamesh enters it, and having done so, it effectively shuts out the outside for the rest of the film. It is lit, and traversed by trains, however, no train ever stops in it, and it has an air of being unused, boarded up. This station represents a retreat of gilgamesh from the world to her own solipsism and can be seen as a reflection of her own mind. colors are cool, somber, reflecting her mood and her memory, with a preponderance of aqua tones and hints of water in the lighting. Loads of dramatic lighting, atmospheric effects are called for:

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However, our color should be more aqua and more variable - in shots a1s01,03,08,12,13,16 light from the outside should be light blue, light inside the sation is aqua, not quite as blue as mobius and bladerunner, but not green like the brasil shot. However the station light should vary from top to bottom; at the top of the sation we need to do fake causics that have a green tint (hint both at water/memory, unrealism of the location, and at trees in a forest)

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  gradient painted over current render