Derrickson cited the example of Jack Nicholson slideshow mu Few Good Men. At first, Nicholson was made big enough for you to see the top of his head, but as soon as the camera cut to release the cord, “You can’t stand the truth!” the shot is too close to cut above his head. It attracts the attention of his powerful face.
As an added bonus, the straight line on his forehead as it reaches the edge of the frame emphasizes the horizontal horizontal lines of his eyebrows, his shoulders, and even his steady lips. On a large shot, you can see the twisting of his head, but with this laser-shot shot, Nicholson’s design is solid and sharp to show off his hard lines.
I have added red bars to indicate the maximum number of potential locations over long distances, and while this may be fine, the extra space makes shooting great seemingly insignificant, which only adds to the effect when the camera comes. closing so that Nicholson’s face fills the veil. Like any other film production tool, the amount of segments that the director selects can have a profound effect on the concept of the video.
For most movie theaters, choosing the number of episodes was the only decision. The video had to be shared in one format, though some movies were shot with several sections in mind to change differently, say, game distribution and home. But in recent times, it has become increasingly common to watch movies that change the way they look at themselves — or to allow the viewer to decide.
“The first film I remember and see that was adjusted between 2.40 and 1.9 in IMAX was The Dark Knight, ”Derrickson said. In this film, many of the biggest events shot with a very long shape, allowing for higher elevations within the frame. In the theater, the film rotated between them, often without the audience — or the experts — noticing. “Surprisingly, I did not notice the change because the 2.40 on the big picture was too big.”
Derrickson great movie, Doctor Strange, he used a similar approach in most of his activities. And Derrickson first explained on Twitter that Imax photos were not shot while looking at home, he told me, “I just watched IMAX 3D on my 55 TV”, and I think the change looks good, but the power of the opening. set up the frame and give the viewer a bigger picture on larger pieces that work better. ”
More and more movies are experimenting with exotic images. Joel Coen’s Notes Macbeth’s Tragedy shot black and white in a ratio of 1.33: 1. And the 2019 movie The Lighthouse it rose sharply with a score of 1.19: 1 to raise the profile of the box camera from the 1890s.
Now that it is easier than ever for movies to be shot and distributed differently, you may find that you are watching movies that are made around the subject being discussed, rather than just watching. You can also have an organization by choosing that.
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