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Movies In Color: Fight Club, 1999. Cinematography: Jeff Cronenweth

Movies In Color: Fight Club, 1999. Cinematography: Jeff Cronenweth | Cinema | Scoop.it

Posted by Roxy Radulescu on April 29, 2013 • 


Via Mike Ritchie:

"If you're interested in cinematography and colour, then it's worth taking a look at moviesincolor.com by @RoxyMakesThings. Great work!"

 

A blog featuring stills from films and their corresponding color palettes. A tool to promote learning and inspiration. Updated daily.

 

"Movies In Color is curated and created by graphic designer Roxy Radulescu (RoxyMakesThings).


The idea started when I was watching Skyfall. I was taken with the cinematography and use of color more-so than the story itself. I wanted to find out what colors made up certain stills and after making a few color palettes for Skyfall, took it a step further by extending it to all films and starting a blog.

 

So far, the blog has not only been an aesthetic pursuit but also an educational pursuit that showcases the relationship between color, cinematography, set design, and production design. Overall, it is a study of color in films, but has other uses and applications. One of the goals is to give artists color palettes they can use in paintings, films, videos, graphic design, and other pursuits.


The Process. Research is first. I search for stills that are compositionally interesting as well as rich in color. I use the help of a color generator to get a very basic range of swatches. Then I piece together the general palette from that and other colors I think are prominent or worth including from the still. It’s all done in Photoshop to keep layout and swatch sizes consistent and to facilitate color sampling from the image."

...

 

moviesincolor.com


Via Thierry Saint-Paul
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Maria Zueras's comment, April 30, 2013 2:28 PM
Interesting!
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L'estrena de "Tango libre", a "Cinema 3" - Televisió de Catalunya

L'estrena de "Tango libre", a "Cinema 3" - Televisió de Catalunya | Cinema | Scoop.it
Entrevistes al director, Frédéric Fonteyne, a la guionista i actriu, Anne Paulicevich, i a Sergi López, un dels actors protagonistes.
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Blackmagic Cinema Camera vs. Red Scarlet – Zeiss vs. Samyang Part 1. By Frank Glencairn

Posted by Frank Glencairn on April 29, 2013 • 

 

"Always wondered, how a Scarlet and expensive cineglass holds up against a BMC and pretty affordable lenses?
Is the difference – that is almost as huge as the price for a new car – really that big?
Felix Patzke of Heimspiel and I where also curious, so we did a little shootout. Here comes part one.

 

The setup was pretty simple.

 

We wanted a realworldish scenario, so we used mixed daylight and tungsten, a high dynamic range with dark and light materials, for the indoor shot and a scene with high detail for the outdoor shot. We did not light or shot for the chart in particular, but just placed it in the middle of the scene for reference and as a focus point.

 

We had the lovely set of Zeiss SuperSpeeds from Felix and I threw in the Samyang glass. On top of that – and just for shits and giggles – we had some more exotic lenses like vintage Angenieux and Kino Precision zooms. The Super Speeds ranged for 18, 25, 35, 50 and 80 millimeters and the Samyang where the 24, 35 and 85 millimeter."

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Read more on FrankGlencairn.wordpress.com


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