Do It is a short directed by Steve Petersen, Co-founder and Creative Director at Big Machine Design. This was Steve’s first foray into the medium of filmmaking, and an attempt to prove that he could tell a story in a format longer than the 30 second TV spots he has mastered over the years.
The story is about Bernie, a tormented pharmacy clerk who has delusions of putting society right by killing the current ineffective mayor and replacing him with another. Tormented by his demons and his inability to act, Bernie’s’ vivid fantasies get him into trouble more than once, and prove to him that ultimately the only way to fix the problem is to come up with a plan and just Do It!
Coming from the graphic design world, Steve is a very visual director, and for Do It he incorporated many graphic elements into his movie: graffiti splattering across the walls as Bernie wanders the streets at night, depicting his inner thoughts, as well as hand drawn title cards that break up each act. Steve also wanted this ‘superhero comic style’ to be present in all the live action sequences. For example, Bernie tries to overcome his loneliness and low self-esteem by fantasizing about being superhuman. In this altered state he becomes the hero, beating up the bad guys and saving the day. When he comes down from his ‘high’, we are back in his dreary world. Steve wanted to match the framing and the pace of each scene with recognisable colour cues to signify the state Bernie was in, augmenting the intense graphical style.
The challenge was to balance the intense look Steve wanted with some ‘breather’ scenes that would give the audience time to reset their eyes! If everything is super intense all the time, the effect quickly wears off. Luckily, the story provided opportunities for a more mellow palette in some scenes, particularly the ones where Bernie is going about his drab and mediocre life.
For all the pharmacy scenes, I decided to use a muted and cooler palette. I started off by balancing out the blacks and highlights, and then dialing down the saturation by 20%, which is a substantial amount on a well exposed image. I also added a slight blue tint to the mid tones. This gave me a good base and starting point.
All the bottles on the shelves and Bernie’s blue uniform still felt very vivid, so I qualified both the blues and greens and brought those down separately. I left the reds where they were because I didn’t want to desaturate the skin tones further.
To give the image a little bit of ‘snap’, I used a luminance key to select the highlights and then brought up the gain, which added contrast to Bernie’s face. I also let the highlights burn off a little, pulling the eye further away from Bernie’s blue uniform that still felt a little pronounced. Bringing the saturation down further would have made it look monochromatic.
For the images below, which I fondly referred to as the ‘Abbey Road’ setup, I started off by stretching the image to the point where my brightest areas (car on the right) were clipping. When I’m going for a high contrast look, I usually try to either crush the blacks or blow out the highlights, rarely doing both. This avoids the much dreaded ‘video look’. I then warmed up the highlights, knowing that I’d get red ‘contamination’ in the sky, but I would take care of that later on. For my blacks I went more towards green; the combination of red highlights and green blacks pushes orange into the mid tones, picking up the warmth in the buildings and the tarmac.
Then I treated all the primaries separately, blasting saturation in the blues and to a lesser extent the greens, while reducing the saturation in a narrow band of reds. This gave me rich red highlights from my base correction, without the excessive tint in the skin tones. I then burned off the corners with a strong vignette, while qualifying the sky inside of the shape and boosting the gain a little. This created a halo effect coming from behind the skyscrapers in the background. I also then took out the red I had introduced in my base correction.
Finally I did an overall grade, pulling the highlights and mid tones towards a cooler palette, and again boosting overall saturation. I almost always do a grade on top of all my other corrections, largely because this has the effect of rolling all the colours into one unified look.
You can visit the Do It gallery by using the following link.