Jump to content


Photo

How long does it take some of you to SEE the scene?


  • Please log in to reply
1 reply to this topic

#1 G. Stephen Bruno

G. Stephen Bruno

    New

  • Basic Members
  • Pip
  • 8 posts
  • Student
  • Harrison, Arkansas

Posted 27 August 2006 - 01:24 AM

I am interested to know just how long it might take some of you guys/gals to SEE a scene cinematographicly.
(I.E How quick do you usualy narrow down your stocks/format/lenses and how quick do you see your light set-ups?)

Also, At what age in your life did you start to SEE light, of course, not literaly :D but rather, artisticly, when did you first start noticing just how beautiful light is?

Thanks guys.

G. Stephen Bruno
Starving Student.
  • 0

#2 David Mullen ASC

David Mullen ASC
  • Sustaining Members
  • 19759 posts
  • Cinematographer
  • Los Angeles

Posted 27 August 2006 - 12:46 PM

When I was in junior high school, I guess around the time I was 11 or 12, I was painting a lot and reading the journals of Leonardo DaVinci, where he wrote about the colors of light in nature -- cool shadows, warm highlights, cold aerial perspective, etc. and I started noticing those things more.

It's a lifelong process though, learning to see.

Stocks tend to be something you choose before you shoot just because you have to, unless you are going to carry multiple stocks around and can choose on a sudden whim. A lens set too is something you have to plan in advance for, although the particular lens might be chosen at the moment once you see the scene, the blocking, the location, etc. to know how much to expand or contract the perspective, how much physical space you have to move back the camera, etc. You know how a lens affects motion rendition, perspective, depth of field characteristics, etc.

These days, lighting is generally naturalistic and logically motivated, so you start out by thinking about the reality of the space and where the light would normally come from: windows, lamps, etc. And you start thinking about what practicals you can turn off or on, what windows to shut or open, and how the affects the mood. Even within a naturalistic style, there is a lot of opportunity for manipulation.
  • 0


Metropolis Post

Aerial Filmworks

FJS International, LLC

Paralinx LLC

Abel Cine

Broadcast Solutions Inc

Gamma Ray Digital Inc

Glidecam

Ritter Battery

Willys Widgets

Opal

CineTape

Rig Wheels Passport

Tai Audio

Wooden Camera

rebotnix Technologies

Visual Products

Technodolly

CineLab

Media Blackout - Custom Cables and AKS

The Slider

Tai Audio

Gamma Ray Digital Inc

CineLab

Glidecam

Abel Cine

FJS International, LLC

Aerial Filmworks

The Slider

Metropolis Post

CineTape

Media Blackout - Custom Cables and AKS

Willys Widgets

Wooden Camera

Ritter Battery

Rig Wheels Passport

Paralinx LLC

Opal

Visual Products

rebotnix Technologies

Broadcast Solutions Inc

Technodolly