This was shot by Wesley Johnson on the Arri Alexa. I first worked with him a couple years back on another project, but I recall this discussion we had during one of those sessions, on the difficulty of brown. Defining it I mean. As a colorist I can shift things around pretty freely. So brown is kind of etherial. What makes something brown and not yellow or green or red? It's kind of the perfect blend of all those, but when you hit it, it's got this richness to it.
The conversation's stuck with me because I guess I spend a lot of time agonizing over the shadow tones in most projects I color. The cardinal sin is too much magenta. Not completely sure why, but that's generally an easy place fot tones to shift. So acheiving this brown tone on projects where it's needed has been a personal challenge of mine for the past few years. It feels good to nail one down for the DP who originally influenced me on the subject.