For at least a decade now, we've been shamed into bleeding the colors from our films like vampires. We were told that grey was more serious, more sophisticated, and that colors were childish. But what they didn't tell us is that this was merely a coverup for the limitations of digital cameras and color grading software. And at the same time our movies went grey, our morals also went grey. I would even venture so far as to say that the grey movies are the aesthetic of moral relativism and post-modernism.

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Now the tide is turning.

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High saturation looks are making a comeback. But while everyone else is scrambling to cobble together a cheap LUT to profit off the new trend, I've spent more than a decade perfecting my own high saturation look. What is this look? It is called "Heartcolor", and it was inspired by Technicolor. It has the same painterly aesthetic; no thin digital saturation here, only thick dyes. But where Technicolor stopped at three dyes, I have expanded Heartcolor to twelve. That's right, twelve, for unparalleled color separation and richness across the whole spectrum. It is Technicolor for the modern era.

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Is this mad? Yes. But madness gets attention.