The “GODFATHER” yes the iconic Godfather, is my last weekly article about color grading palette (sad to say). Extracted from one of the most iconic scenes from The GODFATHER 1, the remastered version. This article is especially dedicated to all the followers, viewers, likers (new word) and commentators.
These articles about color palettes are for everyone interested in seeing how colors are combined to help tell the story in a specific scene and how these colors support the story being told. It also shows what type of color rules are used, for example, analogous, complementary, triads etc.
Directed by Francis Ford Coppola and produced by Albert S. Ruddy and based on Mario Puzo‘s best-selling novel of the same name. It stars Marlon Brando and Al Pacino as the leaders of a fictional New York crime family. The story, spanning 1945 to 1955, chronicles the family under the patriarch Vito Corleone (Brando), focusing on the transformation of Michael Corleone (Pacino) from reluctant family outsider to ruthless mafia boss.
I promised to do a total of eight weekly articles and I am proud to say I have completed my quest. It as been so great to do, a lot of work but the reward is to see so many views, likes and comments across all the platforms.
Color Palettes are often used for set designs (filming, videos and even photography). When used in set design they are also great to use in the post production color correction and color grading process.
Designing custom palettes for clients is one of my passions so feel free to contact me for more information on creating or extracting color palettes, color correction and color grading:
“THE GODFATHER’S COLOR PALETTE”
The Godfather 1 has also been called a dark movie, Coppola especially shot this way and even though there are quite some bright scenes this color palette shows us the dark feel of the movie.
It also uses the beautiful designed “CLASSIC LOOK” color palettes, The scene I picked is of course the cover photo of this article but THE GODFATHER also uses some brighter different palettes in other scenes.
Notice that the Classic Look doesn’t have too many colors, its very simple the but simplicity gives it a unique look.
Always remember colors are used to tell stories, they support the story being told, how ever great an beautifully colors are, in general they will “not” work if they do not contribute to the story being told.
Cinematographers and Di colorists often use scopes while filming and in post color grading. We can see on the scopes that the scene is not too bright but instead quite dark and not too colorful. Even-though it is dark the blacks are intact (no pressing of the blacks) and even-though the palette is not too colorful we still see on the vector-scope (saturation) that the scene is nicely saturated and far from a B&W scene.
THE 1972 GODFATHER 1 COLOR PALETTE.
This Godfather’s scene colors:
Background and props.
Rose / flower in Don Corleone’s jacket.
background props including plat.
GREAT LOOKING SKIN-TONES
As we have seen throughout all the other articles, skin tones are extremely important because good looking skin tones are very appealing to the eyes and even though this color palette does not use the blockbuster Teal and Orange Color technique the skin-tones are looking great, just for a reference you can see below the vector-scope incl. the skin-tone line.
SKIN-TONE COLOR WITH THE VECTOR-SCOPE READOUT
ADJUSTING A COLOR PALETTE
When using color palettes, you can always adjust the Saturation and the Brightness but NOT the hue.
For more information please see Di colorist: adeepoberoi.com
COLOR PALETTES tell a story and are very useful for getting all your colors great and matching. After all, every color tells a story. Di colorists love working with palettes for color correcting and color grading. I have seen many cinematographers, producers and directors work with their own custom made color pallets to support the story being told.
Great for using in set designs for filming, videos and photography.