Interview Filming kalpvriksh (the Wish Tree) Your Dreams .. Are Just A Touch Away … Indian Ci-stanley博士的家2

Interview: Filming ‘KALPVRIKSH (THE WISH TREE) : YOUR DREAMS .. ARE JUST A TOUCH AWAY …’ Indian Cinematographer, DOP Rajeev Jain ICS WICA "Cinematography is infinite in its possibilities… much more so than music or language". – Conrad Hall Filming and the world of cinematography have experienced a big change in recent years and again, the responsible for this change is digital technology. Cinematography used to be restricted to professional cinematographers. A cinematographer is the person responsible for the look of the film or the technical aspect of the image (lighting, lens choices, composition, exposure, filtration, film selection). The cinematographers are the heads of the camera, grip and lighting crew on a set, and for this reason they are often called directors of photography (DOP). The knowledge of the DOP extends from lighting to chemical processing of the film. In recent times, some people (mostly cinematographers themselves) argue that the role of the cinematographer is being diminished by the use of digital technologies. Why? In the past when film (celluloid) was the only option, to shoot a film required a level of expertise which was out of reach for most people unless years of practice and learning. These days and even though the level of expertise of the DOP is still very high, producers and directors can rely more in digital post production and colour grading. Modern digital image processing has made it possible to radically modify pictures from how they were originally captured. This has allowed new disciplines to encroach on some of the choices that were once the cinematographer’s exclusive domain. This doesnt mean that the role of the cinematographer is not important anymore. Its in fact of the most importance as there are many other factors to be considered when shooting a film or a video production. There is no digital replacement for a correct framing or lighting. When shooting digital (tapes, media/flash cards), the media is so inexpensive and widely available that sometimes the attention put into proper and careful framing, light, colours, etc…can be affected. On the other hand, digital video is a wonderful thing. Video has improved so much in recent years that now is possible to shoot very professional footage within a relative low budget. Video cameras are becoming more and more sophisticated, especially with the arrival of high definition (HD), a system which is mostly defined by: The number of lines in the vertical display resolution . High-definition television (HDTV) resolution is 1080 or 720 lines. In contrast, regular digital television (DTV) is 480 lines (where NTSC system is based) or 576 lines (where PAL/SECAM system is based). The scanning system: progressive scanning or interlaced scanning. Progressive scanning redraws an image frame (all of its lines) when refreshing each image. Interlaced scanning draws the image field every other line or "odd numbered" lines during the first image refresh operation, and then draws the remaining "even numbered" lines during a second refreshing. Interlaced scanning yields greater image resolution but loses up to half of the resolution and suffers "combing" artefacts when subject is moving. But some people will argue that the biggest difference between film or digital is the possibility of anticipating the results while shooting: When shooting on film, response to light is determined by what film stock is chosen. A cinematographer can choose a film stock he or she is familiar with, and expose film on set with a high degree of confidence about how it will turn out. In contrast, when shooting digitally, response to light is determined by the CMOS or CCD sensors in the camera and recorded and "developed" directly. This means a cinematographer can measure and predict exactly how the final image will look. The other big aspect when filming is light. No lights and you have darkness. The most common way of lighting throughout film history is the three-point lighting (Key light, fill light, back light). By using three separate positions, the DOP can illuminate the shot’s subject (such as a person) however desired, while also controlling (or eliminating entirely) the shading and shadows produced by direct lighting. Using just key light pointing at the subject results in a high-contrast scene. The addition of a fill light decreases contrast and adds more details to the dark areas of an image (this effect can also be achieved by reflecting the key light with a reflector). In addition to a key light, a back light may be added to "separate" the subject from the background. We embrace digital technologies as we love its versatility and workflow but we are also aware of the importance of taking care of every single frame in the production. Because we were trained the traditional way, we feel that we can bring that experience into the fascinating digital world. About the Author: Born in Los Angeles, David Henry Hwang is the son of immigrant Chinese American parents; his father worked as a banker, and his mother was a professor of piano. Educated at Stanford University, from which he earned his B.A. in English in 1979, he became interested in theatre after attending plays at the American Conservatory in San Francisco. His marginal interest in a law career quickly gave way to his involvement in the engaging world of live theatre. By his senior year, he had written and produced his first play, FOB (an acronym for fresh off the boat), which marked the beginning of a meteoric rise as a playwright. After a brief stint as a writing teacher at a Menlo Park high school, Hwang attended the Yale University School of Dra Article Published On: ..articlesnatch.. – Arts-and-Entertainment 相关的主题文章: