CITAZIONE ($lask @ 26/2/2013, 20:17)
CITAZIONE (thanat @ 26/2/2013, 17:19)
Che io sappia Nolan ha usato lo steadicam anche per l'Imax. La scena iniziale di The Dark Knight è stata girata in Imax e hanno usato lo steadicam. Qui sotto puoi vedere la steadicam per l'Imax usata in TDKR
Per l'ultimo Batman si, ma non ne sono sicuro per The Dark Knight: nel backstage del film dicono che durante le riprese del prologo la camera era troppo pesante, difatti al primo ciak l'operatore non è riuscito a reggerla ed è caduta.
Nella foto che hai postato dovrebbe esserci la "mini-Imax" che hanno progettato appositamente per le riprese di TDKR.
Nello stesso backstage dicono che ne la camera Imax ne l'operatore steadicam si fecero niente. Quindi continuarono a girare in Imax con lo steadicam. Se noti bene in quella scena, quando si seguono i personaggi i movimenti sono così fluidi perché si è usata una steadicam.
A proposito di questo, David Keighley, Imax consultant dice
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Fluid cameras are very important to Chris in telling the story and Wally. And they were abble to use the Steadicam. Not as easily they could in 35, but they can use it. Yes the camera only has three-minute loads. Chris says, "Well, then I'll just have another camera standing by to move in." But if you want that quality, you want that immersiveness, if you have the vision and you wanna do it, it's difficult but not impossible. And he wanted to do it.
In TDKR hanno usato la versione mini della Imax perché starebbe stato un po faticoso per l'operatore steadicam girare per tutto quel film con quel peso, visto quello che era successo girando il prologo di TDK. Dovendo girare per TDKR 72 minuti in Imax e molte riprese sono fatte con lo steadicam, hanno usato una versione rimpicciolita della cinepresa Imax per comodità.
Comunque, Nolan nei suoi film fa più uso della camera a spalla che della steadicam, tranne ovviamente quando usa l'Imax perché usarla sulla spalla è impossibile e allora si usa lo steadicam. Per esempio in The Prestige viene sempre usata camera a spalla, tranne quando si devono fare movimenti di macchina precisi come la carrellata iniziale sui cilindri. In Memento la camera a spalla viene usata per seguire Leonard Shelby perché tutte le inquadrature a colori sono soggettive. In questo modo lo spettatore condivide lo stesso spazio del protagonista.
Riporto qui alcuni pezzi di interviste fatte a Wally Pfister, a proposito di Inception.
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Once again, on this movie, like The Prestige, the camera was on my shoulder in almost the whole movie. There was a hell of a lot of hand-held in this. There's a lot of other stuff, too. There's some effects stuff [such as] the rotating hallways that can't be done that way. But every time the camera can be on my shoulder, it's on my shoulder. So that creates an enormously free-form way of filming. I can pan around any direction, and Chris often tells the [crew] you better clear the set 360 degrees; we want to be able to look anywhere and shoot anywhere, and I just laugh because it just has art direction spinning.
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Imax was ruled out because the filmmakers decided that extensive handheld camerawork would be a cornerstone of their ary feel,” says Nolan. “And there was a lot of physically challenging work planned.”
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“Fundamentally, I wanted every shot to be moving,” says Nolan. “I wanted to base the photography in these scenes on what we’d done with vehicles in The Dark Knight. I wanted to always have a point of view for the camera, to always be moving with the action and putting the audience into the experience. Chris [Patterson] was able to pull off some really extraordinary shots. He was very receptive to putting more and more movement into shots, even little storytelling shots. That footage all cut together with what I like to call a ‘tumbling forward’ quality, where you’re being pulled along with the action.”
Mentre invece questo è un breve saggio sulla fotografia di Inception.
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Cinematography plays an important part in any film and filmmakers employ a variety of different techniques to help build specific emotions within the audience.
Inception (2010) utilizes these major components and uses them on a constant basis to provoke emotions to impact the audience in relation to what is happening at that moment in time.
Camera angles are key in Inception. They provide depth into the shot and help the audience to become engrossed in the film as they become more intrigued with what is actually happening on screen. This is because the shot is not always direct mode of address. In the opening scene this can be seen used several times as the main protagonist Cobb (Leonardo DiCaprio) is washed up on a beach and taken into a complex by a guard. From the moment he is taken in the room you never directly see Cobb’s or Saito’s face. The camera’s focus becomes the small object on the table, as the camera pan’s down, out of focus in the background is the Cobb. This continues as a conversation between the two progresses. The camera finally cuts to Saito (Ken Watanabe). For that whole section you don’t see the characters faces you can only hear them talking. This causes the audience to rely on what they are seeing. The point of focus e.g. the small spinning top on the table becomes the point of interest for the audience. This provokes the audience to becoming emotionally attached to the object before they even know what it is for or what it represents. The fast paced cuts from either end of the table, combined with the lack of character facial appearance cause the audience to become eager to find out what is happening as not much information is being presented from the dialogue of the conversation. It draws the audience in and causes them to feel tension as the speed of the conversation increases until suddenly, it cuts to Saito’s face reveling some of the mystery behind the character.
This is a cleaver use of cinematography, to create distinguishing and interesting camera shots that focus the audience on a specific object to create an emotion towards it, but at the same time distracting away from the characters identity to again create a feeling of secrecy and surprise.
Camera Movement is important throughout the film. Its use is relied on more heavily in the latter scenes of Inception. In the mountain top scene the director uses many wide extreme long pan shots to portray the vastness of the surroundings. This could also be a subliminal meaning for the size of the task that lies before the team of protagonists, this emotes an essence of fear or worry in the audience as they can sense the films loose ends drawing to a close and they still haven’t found out what Robert (Cillian Murphy) is hiding.
Camera movement works especially well for emphasizing action scenes as it mixes the fast paced action with the fear for the main protagonist. It grips the audience in for that edge of the seat reaction. This can be seen when the alarm is set off in the base and the soldiers rush out to search. The camera is set behind the tree line, the camera pans from right to left following the soldiers on their snowmobiles. This give the audience the feeling of first person experience, as if they were there at that current time. This makes the audience feel more involved in the film as they can visualize themselves there are that specific moment in time and induces and feeling of excitement as well as danger.
The camera suddenly cuts to Yusuf (Dileep Rao) as he is driving the speeding van away from other security forces. The camera follows the rear of the speeding white van and slowly moves around to the side and then to the front wheel, it then slowly moves up towards the driver’s window. At a mid close up it shows Yusuf facial expressions, it shows worry and panic as he is franticly trying to fulfill his role within the team. The quick action shots and following angles build different depths into the characters expressions making the audience feel more emotions towards them in the specific scenario.
The different camera angle combined with camera movement within Inception has a vast impact on the audience engrossed in the film. The director uses them to increase emphasis on certain points of the film that otherwise wouldn’t have any great deal of meaning. The cinematography is a very powerful tool and can cause the audience to feel emotion towards a character or object regardless of its use or significance. In the film there is not more than a minute where the camera is static. It draws you into the thrilling roller-coaster ride that is the storyline and causes the viewer to think about the events long after the film has finished. This different perception of the film is from the angles, causing confusion and mystery as a hidden meaning. The small object at the beginning of the film becomes a key role in the film and every time it appears the audience can feel something major is about to happen as they have been almost tricked into feeling emotion for the object through the use of camera angles and using that sense of mystery behind it. The size of the object cannot compare to the scale of the film, however it role within is hugely overpowering. This is all created through the use of the cinematography at the beginning of the film.
Mentre invece per quanto riguarda le luci. Nei film di Nolan vengono quasi sempre usate luci naturali, soprattutto in Inception. Quando invece usa luci artificiali, Pfister illumina in modo scuro e tetro. Un esempio di questo tipo è la fotografia di The Prestige. Questo perché Nolan è molto influenzato dai noir. Infatti, lui è un grande estimatore di La fiamma del peccato di Billy Wilder.
Edited by thanat - 27/2/2013, 01:59
