Download American cinematographer vol.90.2(2009) by The International Journal of Film & Digital Production PDF

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Brian also rigged a few practicals overhead for atmosphere, creating hot points of blown-out circus colors. For reverse angles on Coraline, he used soft uplight to suggest bounce from the spectacle offscreen. Coraline discovers an opulent 19th century theater in the Other basement, where she enjoys a vintage burlesque followed by a breathtaking trapeze act. Peter Sorg used many MR16 architectural lights to streak up walls and low-voltage halogens for footlights. Adding other practicals, mini spotlights on motioncontrol movers and a central China ball for fill, Peter surpassed the grandeur of our reference, which was the London Opera House.

We had the same freedom to animate alignment in post. The combination became a powerful tool for creative work as well as solving technical issues. The most common use was on camera trucks that went from wide views to extreme close-ups. 5mm to 18mm, starting on a frame-filling face and ending on a wide shot of house and yard. This allowed a deep Left: Coraline encounters three ghost children on one of her forays into the Other World. Below left: Chris Tootle animates the ghosts, who were shot in a separate pass.

93]. That was the first large-scale, multicamera film I’d done in anamorphic, and I felt very compromised by the number of lenses available and how mismatched they were. 5, and it was very soft. 3, which is absolutely impractical for an interior. I told Phil, ‘I don’t care about having a long-range zoom. ’ I don’t like to use a big zoom for anything; I’ve never needed a 10:1 because I just don’t do moves like that. I needed something that would allow me to move from a wide master shot into something tight enough that would be cuttable for the coverage.

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