There has been extensive discourse on social media regarding the new film adaptation of Wicked, starring Ariana Grande and Cynthia Eviro. Particularly, the decision to utilise less ‘invasive’ colour grading tools. As opposed to a majority of fantastical films, the colour palette is far more muted in Wicked. While some people think this aesthetic choice deduces the magical, exciting atmosphere of the film, I found it to be a brilliant demonstration of a whimsical world which felt incredibly tangible. This is what separates Wicked as a film adaptation to previous examples of the show. The land of Oz seemed modest yet fantastic; each visual detail adhered to a unique palette — one which seemed “real” and comforting. It is a shift from the more commonly seen fantasy-style editing such as vivid colours, glimmering props and high-saturation filters. Wicked’s classic colours, pink and green (representative of each character), certainly come to mind when viewing the film. When asked in an interview about the colour-grading process, Senior Colorist Jill Bogdanowicz said: “A lot of pulling chroma keys, especially in the greens, and making sure the pinks didn’t get oversaturated… we didn’t do anything that could suggest unconsciously what they’re supposed to feel about these two characters.” This is significant when viewing the film as a toned-down, understated aesthetic allows one to truly focus on the plot and character growth. This is not to say, however, that the visuals were in any way underwhelming. In fact, the film is perfectly balanced in colour; as Bogdanowicz says, there is no heavy implication in its visuals directed towards the audience. The set reads as a tangible, real-life place, not simply a fantastical alternate universe, and it is perfected to each minute detail. As a result, one immerses themselves into the character and plot much more.

EVE MCCABE EAGER