In designing a base look for the film, the question became how to underline their lives moving separately through the same seasons – regardless of whether we’re in the prison or outside it – without it being too obvious. The approach also had to be simple to manage.
I had always wanted to test the effect of grading under different white points within one film (i.e. ~5500K and ~7500K – to get a sense of their psychological and perceptual effects in both the cinema environment (and the subsequent small screen adaptation). So I quickly came to the idea to use different white points for each season, switching between them beneath the chapter title cards (as they always appeared over a black background). I wanted to know to what degree shifting white points would affect a viewer’s emotional reading of the scenes.
Rather than use four separate white points for each of the seasons I suggested we grade under a very warm white point for the summer chapter, a very cold white point for the winter part and use a more conventional white point for both spring and autumn as a transition.
I felt this approach would also go some way towards solving the question of how to align the appearance of the skin tones to the passage of the seasons – as a warm white point for summer should help accentuate the apparent warmth in the skin tones and a very cold white point for winter should diminish them.
There was not really time for experimentation yet Carolina and Henrika boldly agreed to run with the concept.