The color palette used for a movie's scenery, the characters' clothing, and the props helps transport the viewer to magical kingdoms, outer space, or post-apocalyptic landscapes.

That imagined future is lush and green and beautiful. It’s an iconoclastic choice for a post-apocalyptic tale. The first episode of Station Eleven drops viewers in a now-familiar fictional ...

The post-apocalyptic sections burst with a natural color palette, dominated by green. The mid-apocalyptic sections are stark white, thanks to the snow everywhere, with warmer tones for the ...

Discover how filmmakers use color to create powerful atmospheres in post-apocalyptic movies, from dark tones to vibrant contrasts, as seen in "Mad Max: Fury Road." More for You The 60 Worst Action ...

Mad Max is a very different franchise now than when it started in 1979; George Miller’s post-apocalyptic saga has evolved a lot over the years. The first Mad Max movie was a microbudget ...

On A Gray 'Day,' One Last Post-Apocalyptic Stand Set in a ... it seems to be simple color correction — specifically, zapping the frame of any lively hues and leaving behind a desolate palette ...

So there was color, and those kinds of colors are slightly reflected in "Station Eleven." Throughout, we've never really wanted a post-apocalyptic world that was void of color and life.

For movie makers, this color palette can be a powerful tool. Human skin matches a relatively narrow swath of the orange section of the color wheel, from very light to very dark .

In a post-apocalyptic world robbed of color, coherence and any identifiable sense of intrigue, a witch and a bounty hunter roam the Earth, slowly stalked by those who wish them dead.