فصل التصوير ، العدسات - المرشحات - الفلم الخام - البصريات ٣-a .. كتاب فهم السينما

Minor skin distortions in the wonderful Andersen family film. Wells painted the edge of the lens in some shots with Vaseline, where she erased the traces of the image in the edges and gave it a tinge of antiquity and grief that characterizes and provokes album photos, a technique sometimes called “shading” or “blocking”. There are also more filters than lenses (1 - 25). Some of these filters capture light and refract it in such a way as to produce a diamond-like sparkle within the image - a technique favored in the 1930s, usually to emphasize richness and pomp. Many filters are used to heighten the effect of certain colors or Curb it Colored filters can be especially beautiful in outdoor scenes The ethereal, romantic imagery of Jack Clayton's The Great Catesby was primarily the result of expert filter photography by de Classe Slocombe Robert Altman's McBee and Mrs. Miller film used green filters And the blue filters for many of the external scenes, and the yellow and orange filters for the internal scenes These filters increased the bitterness of the cold for the winter scenes and the living warmth of the rooms inside the primitive buildings.

Although there are a number of different types of raw film, most of them fall into one of the following two categories: “fast” and “slow” (1-26) The fast type is highly sensitive to light, and sometimes it can record the image without lighting except for the lighting of the location itself, even in scenes The slow type is insensitive to light and requires ten times more than some fast types.

Traditionally, slow films have been used in fantasy films, as this type of raw film gives us images with clarity in detail and embodiment. The lines appear as sharp as the sword, and the gradation in gray (in black and white films) may be miraculous in accuracy. Slow color raw films are able to capture colors with high accuracy, without color losing any of its brilliance.

Fast raw films have traditionally been associated with documentaries

Its high sensitivity to light enables it to give us pictures of events when they actually occur - the documentary filmmaker is able to photograph people and places without evaluating tiring lighting. In black and white the lights and dark areas contrast seriously and the shades of gray are usually missing.

The aforementioned technical considerations do not usually have a place in a book of this type, but the choice of raw film can give us great psychological and aesthetic differences in the cinematic film. Since the early 1960's many fantasy filmmakers have turned to raw and fast film in order to give their pictures a sense
The recording of reality and the sense of impulsiveness, Kodar preferred to use the raw, fast film in particular, and his cameraman, Raul Cottar, produced some amazing effects for us, despite the alleged visual limitations of these films. Many viewers assume that it is a documentary film (1 - 27) The same visual defects of the black and white film turn into aesthetic advantages in this film, as the sense of immediacy and realism is attributed primarily to these technical features.

The optical film printer is a complex machine that gives us multiple special effects in the cinema (1-28). It includes a cinematic camera and a cinematic projector that have been precisely placed so that the operator can photograph all or part of a frame from a film and repeat the exposure or add an image to another image. One of the most important of these effects is that it enables the director to portray two separate realities at the same time. This is why this technique is often used in dream and fantasy scenes, as well as in paranormal scenes. Optical printers can give us multiple exposures or add several images at once. Multiple exposures are useful in suggesting atmosphere, the passage of time, and a sense of mixing of time, places, things, and events.

Types of passage of snapshots, although multi-exposure as a method is often used in the montage of some scenes - transitional bridges of quick images that suggest to us the passage of time or events in Europe (the word montage usually means the entire complex art of montage). In Citizen Kane, Wells uses a montage scene to compress Susan Alexander's long journey in the opera. We see clips of Susan singing excitedly, printed, appeared, and disappeared from newspaper headlines, intermittent stage lights, high theater curtains, etc.

The negative image - in which light and shadow are the opposite of the positive image or the final image - has not been used much except in some avant-garde wave experiments (1-29). cause blurring. Kodar used this technique to great effect in The Weekend and in the movie Favell, where X-rays are inspired to look below the surface of things. Jean Cocteau used negative images to suggest inhumanity and the predominance of death and death.