Recently I just check out this film name Django Unchained, directed by Quentin Tarantino. The film was released on 25 December of 2012, but then the film does not look like a film of present. Because of the style of Anamorphic that prefer by Quentin Tarantino, he say this film is about wild west, the color of the film must explodes as much as possible.
Richardson is referring to the Technicolor IB process, used to create the vibrant colors in Hollywood classics like Gone With the Wind and Shane. Richardson used digital techniques to mimic the dye transfer process in The Aviator, but he says that Tarantino prefers to use the digital intermediate only for effects that could be accomplished using photochemical printer light techniques. But Richardson says that the film’s color palette was mostly controlled in the production design, including costumes. The lush greens of Louisiana also contrasted naturally with the brown tones inherent in the Western locations.
Lighting the night
Nighttime shots for cinematographers are frequently a challenge, particularly with film stock, which is still the medium of choice for Mr. Tarantino. One scene involves an evening encounter with an early version of the Ku Klux Klan. The sequence required some tricky lighting to capture images of torch-wielding characters on horseback along with hints of their surroundings. Giant lamps called “moons,” hovering 145 feet above the ground, shined down on the set to illuminate the landscape. Other lights on the side gave further texture to the location. “It is an extraordinarily complex and expensive lighting setup,” Mr. Richardson said.