I was wondering is there a way to achieve the look of Woody Allen's films Midnight in Paris and To Rome With Love, for which the director of photography was the Iranian-French cinematographer Darius Khondji?
Some of the aspects of the looks, which differ to a certain amount, in my view, are often the early-morning or late-afternoon sunlight, at other times cloudy weather, diffused light, yellowish cast to the Midnight in Paris images and very warm, sometimes "extreme" (to quote Darious Khondji himself) orangish, ochre colour of To Rome With Love, then those imperial reds of Fouquet's awnings or the emerald ones of Quai de la Mégisserie flower shop, backlighting.
I would like to know what are some of the tools and techniques one can use to get close to achieving this look?
I'm interested in if one should use filters, and if yes, which ones; should one pick a custom white balance in-camera or change it in postproduction; are there any specific things one should do to contrast, vibrance, saturation, tone curves, HSL curves; should one use split toning; and anything else that comes to mind that you can share.
Obviously, both films were expensive productions using very specialized equipment, such as custom-made inflatable mattresses, used together with large canvas rugs to cut and diffuse the harsh summer light, but the point is to find out if there are alternative ways to achieve the looks.