Perfect shots: Juliette Wileman

Toyota - Start Your Impossible

Director: Tarsem Singh
DOP: Paul Meyers
Colourist: Jill Bogdanowicz 

The concept for this advert is so simple, yet so visually stunning. The contrast between the warm golden tones and the deep, rich blues is really beautiful. 

It is interesting to note that the yellows initially start off slightly colder and greener, but warm up as Jessica's narrative develops, reflective of her loving home and successful career. 

There are several frames I could have picked (it was a hard choice!) but I love the way that the focus of this shot is pulled in to a young Jessica with the spotlight of warmth, complemented by the beautiful greens and blues of the surrounding water and reflections.

Mad Max: Fury Road

Director: George Miller
DOP: John Seale
Colourist: Eric Whipp

This list would not be complete without Mad Max: Fury Road. The use of vibrant oranges and intense blues was a bold choice for a film that is set in a post-apocalyptic desert world. But it’s one that worked fantastically, breaking the mould for bland, grey, dystopian film looks. 

Something that I found particularly interesting was the approach to day-for-night; by shooting two-stops over during the day, there was a lot more information and control for the shadows, meaning all the important aspects of the frame could be brought out in more detail. Colourist, Eric Whipp, goes into more detail in THIS super interesting read. 

On top of that, the saturated blue both flatters and contrasts any lights in the shots, as well as adding to the graphic feel of the film. You can really see this in the frame I've chosen (again, a hard choice!). The lantern really stands out against the barren wastelands in the background, emphasising the growing affection between the two characters by isolating them in a small window of warmth. 

The use of a wide shot also helps cement this narrative – the characters seem smaller when positioned amid the vast, harsh environment, highlighted in a small oasis of light. I won't talk about the orange scenes, or we'll be here forever....

Utopia 

Director: Marc Munden
DOP: Ole Bratt Birkeland
Colourist: Aidan Farrell

Utopia might be one of my favourite television series to date. It’s another aesthetic that aims to create the feel of graphic novels, using a very ‘50s Hollywood, Technicolour palette. It's bold and saturated and fantastic. This shot, in particular, has always stuck with me. 

I saw it in the trailer and instantly wanted to tune in, all because of the almost luminous green! 

What's also great about this shot is the stripe of yellow across the left of frame. This yellow appears throughout the series, either centre frame or more subtly in the background, like this shot. I'd like to think this is representative of how the villain of the series is always there and always watching...

God's Own Country 

Director: Francis Lee
DOP: Joshua James Richards
Colourist: Matthew Troughton

I'd be lying if I said this film didn't make me cry - this shot is particularly emotional! 

The gentle warmth across the shot beautifully compliments the impassioned embrace between lovers whilst the close-up really forces all attention to be on Johnny's face. This, combined with the grade, really pushes home that sense of hope and comfort the characters are feeling. 

It's interesting to compare this grade to the rest of the film - it's much harsher and colder, perhaps to match the bleak Yorkshire farm where the story is set, but also to mirror Johnny’s struggle to cope with his sexuality and fragile masculinity. 

There are a lot of beautiful wide shots of vastly barren landscapes that really emphasise that sense of isolation.

Women's Aid - The World's Strongest Women

Director: Fern Berresford
DOP: Murren Tullett
Colourist: Juliette Wileman 

This ad had such an important message behind it and the colour was jointly responsible with the direction for highlighting the vulnerability of four seemingly normal women. For this shot in particular, using a low angle made the subject look powerful and strong, and the backlighting makes her seem more imposing as you can't quite see her face. 

In colour theory, the warm wash of orange denotes a cosy, safe environment – yet orange can also register a sense of warning or caution. In this case, this perfectly foreshadows the twist in the narrative as we realise it’s actually a campaign against domestic abuse. 

I was lucky enough to have both Fern (Director) and Murren (Cinematographer) attend the grade session with me, so there was a huge amount of collaboration between us to dictate the story of four different characters fleeing abusive situations.