Color Grading (Blog #42) PRODUCTION

When working on the opening of my film, one of my biggest priorities was setting the mood as early as possible. I knew that color plays a huge role in how an audience feels, often even more than dialogue or music, so I made a conscious decision to use coloring as a storytelling tool. I wanted the visuals alone to communicate the emotional tone of the film before anything was really explained. 

To achieve this, I experimented with filters in CapCut and ended up combining two from the movie section: “Dunkirk” and “Cold Blue”. I chose these filters specifically because of how they work together to create a muted, heavy look. The Dunkirk filter adds depth and seriousness to the image, while Cold Blue removes warmth and pushes the footage toward cooler tones. Together, they help emphasize the film’s depressive and overall cold atmosphere, which reflects the emotional state of the story. 

Visually, the coloring immediately establishes a sense of emotional distance. The blue-gray tones drain warmth from the frame, making the scene feel isolating and subdued. Whites lean toward a cool tint, while the shadows stay deep and slightly desaturated, creating a muted and almost lifeless look. This makes the environment feel tense and heavy, reinforcing the pressure the main character is under. Even everyday objects in certain frames, like school papers and handwritten notes, feel overwhelming rather than neutral (which is how it feels in the character’s mind) because of the way the color grading shapes how they’re perceived. 

The coloring also works especially well with the subject matter shown in this specific frame. The papers, markings, and sharp lines are emphasized by the cool tones, making the shot feel visually busy but emotionally flat at the same time. This mirrors the character’s situation, surrounded by responsibilities and her own set expectations, yet emotionally drained. Overall, the coloring doesn’t just make the film look more cinematic; it actively supports the story by visually communicating the film’s cold, depressive mood and the character’s internal struggle without relying on dialogue. 

(The entire process)