Well it depends on many factors, how bad, or far from the final output the original image is.
Thanks for the kind words Fred.
I wouldn't call myself an expert colorists on motion imagery. I can find my way around, but motion to still is a much different animal, as you know.
This image wasn't that far from what you see. The real difference was lighting and camera, using a digital back that sees very specific colors, rather than global and the talent isn't moving all over the set. Also working vertical, rather than a broad horizontal makes specific lighting much easier.
The real thing that makes this work is talent selection. Sure you can take someone with a dark tan and get the same effect, or close, but it's much better to start with a subject that has this color and tonal value to start.
Also it was shot knowing what the final effect would be.
In regards to shooting this on the REDs (which we did) it looks different. I can be moved close to the same look, but the cameras are different, the processing is different, the framing is different.
But then again, the beautiful colors we see on the big screen have huge resource behind them. If you look at a Peter Jackson Movie, if they want red to be accented, the sets are painted deep red and the rest of the set is muted.
If they want porcelain skin, the subject and the makeup is done in a way the colorists has and easier time doing it.
I'm not saying it can't be done, I'm just saying the better prep prior on set, the better the final results.
BTW: If you will PM me I can sent you a few seconds of this image shot with the RED. It will be more difficult as it's lit a little different, but it will give you some idea.
I also have this session on footage that will get closer to the look.
just let me know.