From American Cinematographer, A Poignant Pas de Deux by Bob Fisher (December 1998)
"It's important to have the freedom to alter compositions and camera moves and take advantage of things that happen on the set. In order to do that, you need to plan for motivated light sources. Lamps, windows, open doors and mirrors are great because you can put them anyplace. This is especially important when you're working in the anamorphic format, because you can see more of the background behind people."
- Vilmos Zsigmond, ASC
I read, discuss, and discover new things about cinematography everyday. Most of it, I consider incredibly interesting. Everyday I will share one of those things, maybe more if I have time.
Showing posts with label motivation. Show all posts
Showing posts with label motivation. Show all posts
12.5.09
Rouben Mamoulian: Camera Movement
From American Cinematographer, Common Sense and Camera Angles by William Stull, ASC (Feb. 1932)
"The idea that camera movement will give cinematic movement to an otherwise static scene or study, so prevalent among directors and executives, is basically false... Unjustified movement is a sign of directorial weakness, not strength... Once camera movement is decided upon as dramatically necessary, however, director and cinematographer must cooperate closely in realizing it with the utmost of technical and artistic perfection, for a badly executed move is worse than none at all. Many factors must be considered: speed, angle, and above all, rhythm. The preceding action will inevitably have established a definite dramatic (and often physical) tempo or rhythm; the moving camera scene must follow out the same rhythm, or, in some rare instance, increase it."
- Rouben Mamoulian
"The idea that camera movement will give cinematic movement to an otherwise static scene or study, so prevalent among directors and executives, is basically false... Unjustified movement is a sign of directorial weakness, not strength... Once camera movement is decided upon as dramatically necessary, however, director and cinematographer must cooperate closely in realizing it with the utmost of technical and artistic perfection, for a badly executed move is worse than none at all. Many factors must be considered: speed, angle, and above all, rhythm. The preceding action will inevitably have established a definite dramatic (and often physical) tempo or rhythm; the moving camera scene must follow out the same rhythm, or, in some rare instance, increase it."
- Rouben Mamoulian
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