Name: ジョーカー』の撮影監督が映画における色のインパクトを語る｜Vanity Fair (Joker Cinematographer Explains The Impact of Color in Film | Vanity Fair)
Uploaded: 2021-01-14T09:32:23.000Z
Duration: 15 min 6 s
Description: VoiceTubeの動画で発音を聞きながら英語表現を覚えよう！学べる英語：

I've read a tweet yesterday in which the woman was like Todd Phillips, Jimmy Kimmel and glories sure for disrespecting Joaquin Phoenix on that out.

様態の副詞

My mom thought it was really She's very embarrassed for me.

I'll be talking about color and film House cinematographers use color to help tell ineffective story.

For example, how to certain colors, contrasts on screen to create depth separation and moved.

You probably noticed some changes just then, right?

So this flat de saturated image is a result of us shooting on a digital camera and something called Law.

It is a raw digital negative before the color grading.

Shooting in log lets us retain a wide range of colors recorded by the sensor, which an editor colorist in post production in grade anyway, they want much different, huh?

We had a blue Varian stemmed up the orange to complement the blues.

You don't have to think of it is technical stuff.

Color and film is comprised three main elements.

The color Hugh itself, saturation or intensity of that, and the brightness sometimes refer to his value or tone.

Saturation is probably the most subjective part of modern filmmaking.

Values of color refer to shades or brightness levels.

One way to create depth in an image is to use complementary colors or colors opposite each other on the color wheel blues go with oranges, reds with greens, yellows with purples and so on.

You play around to create different color schemes.

So how does the Scimitar for choose what colors to use in a movie?

It's hard to talk about color in motion picture photography without thinking of the legendary Zin, retired for Vittorio Storaro.

Seriously, after this is over, go watch the conformist Last emperor, Apocalypse Now he uses color as imaginatively as anybody in film history.

He actually had a whole color theory and with a sign colors to different moods.

In the movie, the emotions, the characters, we all have associations with color memories, how we think about color.

Green It's a color in nature may evoke tension or envy or greed.

Or it may represent power of transition for a car, whereas warm yellows and oranges may have locomotion like comfort and home love, tranquility or not, I don't know.

It may make you want to go the bathroom so Color has a meeting in film.

But it's an aesthetic choice, and some masterful filmmakers choose not to use color in the same ways perhaps Harare or even myself.

And they use a limited color palette or the saturation to tell their stories.

I've always appreciated how colors contrast within the same image and how they could be used in movies to help evoke certain emotions and tell the story that took some examples is your father in Garden State?

The movie opens with him literally in a colorless world.

He lives in a tiny apartment with all white walls, white furniture.

We're trying to limit the color space because his life is a bit colorless at this stage.

In the movie, he opens up his mirror very little color.

Only the pills are the only color that breaks up the scene he drives to work in a fairly de saturated, busy highway.

So then the next contrasting color when he goes here is an example of contrasting colors against themselves and seeing the scene not just within a scene.

If you are willing to embrace color as a director like Zach is, you're gonna look for opportunities to show color from scene to scene, or certainly within the scenes.

Has anyone actually done this is so unrealistic, like driven away with the hose still in the car.

I'm just saying it's clearly marked, Okay, we're definitely not supposed to be here.

So this is seen from the hangover, which was the first film I did with Todd Phillips, who directed Joker.

And here we are shooting on a practical rooftop in Vegas in terms of lighting in here in the contrasting color of light.

Some of it is not necessarily motivated by emotion, but it's motivated by the desire to one be authentic to the environment, but also to help separate the world via contrasting colors.

We had a practical concern, which is we were shooting up there for riel, so this is an example of how production is on and cinematography are like entwined as closely as they convey.

Because here, as a cinematographer, I was basically helping to design the set by having us put in those fluorescent because you needed to light them in an environment in which we could shoot them from far away, you know, surround them.

So they have this science light well on the rooftops that red lies there as a way for airplanes and other things, to see the rooftops and to see the boundaries.

So those two contrasting colors of scion and red made for just a really wonderful way to separate out the actors from their environment jets.

They arrive on the top of a mountain to basically meet the spaceship.

That's gonna take Paul home, that the moonlight is the dominant source of light here, which is blue with a little bit of science, just personal preference as to where I like moonlight to bay.

They're supposed to see a spaceship coming, and in fact it's a misdirect because it turns to be the baddie flying in a helicopter to come take Paul away.

I've always been really happy with the way this turned out, in part because we decided to put these moving lights on the end of a helicopter when we talk about color and if we're talking about here, the color contrast I love the way that yellow and that yellow is not a yellow you see really naturally mixes with the moonlight in this scene that that light that came through the trees could have been anything if we had kept it blue or white light.

I just think it doesn't have the same power and the same striking imagery that I was looking for.

It has to do with how the color white light looks like on camera in a given temperature.

You often hear about indoor temperatures like 3200 Calvin and outdoor temperatures by sunlight.

Lower temperatures are considered warmer and could given oranges.

Tinto white, object on camera, higher temperatures, air considered cooler and provide a bluish look.

If you introduce something at 2000 degrees, Calvin who would be very warm and orange like firelight.

If you introduce something at 10,000 degrees, it would be really blue.

Still, place is paradise, so this is from hangover Part two.

It's the calm before the storm, so the first image as they wake up is gonna be them waking up in a grimy room in the middle of Bangkok.

It's daylight, but the lights are all on.

Is a tungsten ball been there to show contrast?

The warm light that's coming in there now is represented heat right, cause they're sweaty and hot.

One of the things that we talked about we talked about color temperature is the way it shows up in the form of like cool white or warm white.

But the other thing that really plays into lighting that we see in our natural world is the green spike or some lights, maybe very magenta, but often with fluorescence, they have a very high green spike.

So means in relation to the 3200 film stock when it shoots an uncorrected fluorescent.

As I say, it's also showing up with all that green spike in the form of green.

So you mix that cool color temperature with the green and you get science.

And that's that sigh in that we saw in the room when they first woke up in black and white.

You can really see how death is created with shadows and contrast on tone, the ultimate contrast being the silhouette.

Obviously, that's one extreme, but they're different values of exposure.

Famous still photographer Ansel Adams made Famous Zone system, which was a way to think about exposure and tone ality in a film image.

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ジョーカー』の撮影監督が映画における色のインパクトを語る｜Vanity Fair (Joker Cinematographer Explains The Impact of Color in Film | Vanity Fair)

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