It’s hard to believe that the sweeping fields in The Smell Of Success are nothing more than soundstages at Melody Ranch Studios in Santa Clarita! Expertly lensed by David Mullen, ASC, the story is about a manure salesman in 1960s heartland America, and even though the gags are overdone at times, the images ooze quality. Pun intended ;)
Timing this movie was challenging, especially because the DP was not available during the DI. As a starting point David had sent me a handful of stills, which evoked the overall ‘feel’ of the picture. A further challenge was the fact that the movie had already gone through a lengthy preview process, which left it with a lifeless sepia look and little colour separation. This was far from the painterly look both the DP and the Production Design department had planned for.
After untangling what had already been done, I started with a clean slate. This movie was shot on the Red One camera long before the upgraded MX sensor became available, and as such before Red’s FLUT colour science offerings. I picked RedLog for my gamma curve, giving me maximum detail in the highlights. The Zeiss Ultra Primes and Angenieux zooms David used gave me crisp images with excellent definition – a good starting point.
I started by discovering what was in the image, playing mostly with contrast and density and pulling out all the nuances that I knew existed in the ‘negative’; I was right – David had captured some remarkable, ‘filmic’ images, tempering the sharpness of digital cinematography with Classic Soft Blacks and Smoque filters. Through his lighting he created a soft overhead skylight for the outdoor farm scenes, using a combination of daylight Kinos, HMI lighting balloons or Lumapanels, the effects of which can be seen in the ‘Midday’ and ‘Afternoon’ images below.
Even though the gorgeous images had a well designed earthen palette, I still felt that some subtle accents could be used to signify the different times of day.
Seeing the same colour tint over the course of an entire movie soon nulls the effect, and so to keep the eye ‘entertained’ I experimented by adding graduated pinks into the dramatic skies earlier on in the day. This combined well with the hard sunlight being simulated by the 18K HMI. I qualified the clouds and pulled back on the luminance so that I wouldn’t tint the brightest parts. I then brought the gamma down to expose a little more detail in the clouds, and offset the colour by adding a hint of orange. This created a nice transition between the horizon and the clouds.
For later on in the day, I followed the same technique but used less pink. I also wanted to make the clouds feel heavy, almost like they’re engulfing the foreground. I turned to S-curves for this, giving me contrast in the ‘body’ of the clouds while snapping the highlights and deepening the blacks. At times the clouds almost look like they’re touching the ground!
For the afternoon I replaced the pink with orange, especially in the mids and the blacks, giving the ground a sweltering and humid feel. This worked well with David’s afternoon setup – a tungsten 12-light HPL MaxiBrute to simulate the warmer sunlight late in the day. By the time we reach ‘golden hour’, the sky is on fire, with the dipping sun blasting through the trees. For this I actually composited two identical layers over each other, blew out the base layer and blurred the whites. I then used a Soft Light blending mode on the top layer, which I also keyed through to reveal the base. The blending mode provides a nice transition between the two layers.
The whole treatment is in keeping with the whimsical nature of the story, and despite the added ‘texture’, I feel remains true to the cinematography.
I also had a little fun with the ‘high-on-mushrooms’ night scene, where I played with a stylized violet-blue wash and stark contrast. I also kept the blacks a little cooler than I normally would. This is one example of where you can use saturation to really fill in an image in the absence of mid tones. Overall, the movie has a very painterly quality.
For more stills from The Smell Of Success, click here.
To see more of David Mullen’s work, check out his website.