I can tell you at least part of what bums me out as a director and a colorist: Every element of everything in the frame is now routinely power-window-graded into something that isn't photographically possible. With a lifetime of experiential data, our brains are near-impossible-to-fool bullshit detectors when it comes to tracing the path of light, reflectance, ambient bounces, etc. The result of the isolated-element grades may be painterly, or pleasant, but they're also not real, which de facto creates a disconnect with audiences when you're presenting what is otherwise supposed to be "real" imagery, even if it's Avengers. So today you'll see blue skin tones wearing uniforms with rich golden and reds, and none of the light from those objects is polluting or influencing the objects around it, which is completely contrary to the physics of light. We have tools which allow us to do anything now, but we rarely question whether it's a good idea to use them. The fact is that the assumed process when filming now is to shoot everything neutral, and do a shit-ton of grading in post. It's not photographic, it creates unreal images - sometimes really pleasing, but also always unreal. One of my favorite things in working with this film is the unified, real color in the frame, because there simply wasn't the option to isolate every element. It's organic and beautiful; a look largely forgotten.

Tractor Beam Power