فصل التصوير .. الإنارة واللون ١-a .. كتاب فهم السينما

Luminance and color

The cinematographer is generally responsible for organizing the lighting And controlling it in the film under the supervision of the specific or general director, usually. The lighting of most cinematographic films is seldom a passing matter, as lights can be used with extreme precision and the director can lead the viewer's eye by using concentrated lamps of intensity and clarity specified to Any spot of the photographed frame and the cinematic lighting is rarely static, and when the camera moves, even a slight one, or the movement of the photographed subject, the lighting changes. The reason cinematic films take so long to complete is partly because of the complexities involved in lighting each new shot. The cinematographer must take into account his awareness of each movement within the continuous shot. Each different color, shape, and texture reflects and absorbs different amounts of light. And if a frame is photographed with a large clear depth, it will lead to another major complication, as the lighting, too, must be of depth. Cinematographer Crick Toland, who popularized the photography technique with depth, is largely responsible for the expressive, layered lighting effects in Citizen Kane. Unlike the photographer, the cinematographer finds that he has to calculate the change of temporal and spatial variables in his lighting. In addition, the filmmaker does not find at his fingertips the darkroom methods available to the photographer, such as various printing paper, shading, selection of exposure solutions, and the use of special filters for photo enlargers...etc. In color film, there are often no lines separating light and shadow, as color tends to remove shadows and flatten images. Color is also an element of distraction, and often a subject that is predominantly in a black and white image recedes in importance when it is photographed in colour.

There are multiple styles of lighting and the style is usually completely related to the theme and atmosphere of the film. For comic and musical films, for example, their lighting is of a high key, its light is glowing, the area is balanced, and the intense shadows are few. Tragedies and melodramas are usually of high contrast and have prominent bits of light and dramatic patches of darkness. Thrillers and mysteries (low key) generally have blunt shadows and sharp light falls. Films shot in studios are generally more style-emphasized and more theatrical than films shot in locations where the latter tend to use prevailing light and have a natural style of lighting.

Use a habit that suggests Light and darkness had symbolic meanings since the dawn of humanity. The Bible is full of symbolism related to light and darkness. Rembrandt and Carago used the contrast between light and darkness to achieve psychological goals as well. In general, the dark artists to suggest fear, evil, the unknown, and misery, the light with safety, virtue, truth, and joy. Some films rely on their contents and are organized around light axes. For example, a Fellini movie - Caberia Nights uses the night to suggest romance, mystery and self-deception. As for the dazzling daylight, it suggests stark truth, illusion and clarity( 1-16) and the main character in the film, a somewhat unrealistic romantic courtesan, swings between these two poles finally in her natural medium - water. Where she ends

Because of this ancient tradition of symbolism, some directors, especially deviants such as Hitchcock, reverse this equation - light and dark - in order to break our comfortable self-sense of reassurance and by using several self-methods - and innovations that force the viewer to diagnose himself from the position of the hero - Hitchcock tears this self-comfort in a style Terrifying in the most part.

However, in the movie North to Northwest - for example - the hero finds himself homeless in Chicago, where the frightening shadows lurking on every side threaten him - something happens. And we laugh at ourselves at this pathological fear. But then the hero finds himself in an isolated agricultural area and the view stretches for miles as the sun burns radiantly over the long, wide plateau. And nothing seems more reassuring or more boring - and suddenly a strong anger breaks out against the hero in broad daylight in the world of Hitchcock as in Kafka's world, psychological fear turns from a pathological condition into the safest attitude to life.

Thriller can be used in a realistic or impressionistic style. The realist prefers the prevailing light, at least in external shots (17-1), and even in photography Exterior Most directors use some lamps and reflectors to increase the natural light or to mitigate the sharp contrast caused by the sun on bright days. With the help of special lenses and raw, light-sensitive film, some directors can dispense with lighting altogether. Most of Jean-Luc Coudard's films, for example, were filmed entirely in prevailing light, and the lighting in prevailing light gives the film a "documentary" touch, with a sharp quality of shadows and an absence of the typical soft direction of light. Cruel and unromantic on purpose .