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Post by svsg on Mar 4, 2009 22:39:16 GMT
I have brought up this point before, but was reminded of it again when I saw the trailer of "Public Enemies". Nowadays I get annoyed when I see the low saturated yellow-cast color palette to convey the idea of period setting (particularly early to middle of 20th century). All those old cars, hats, coats etc are fine, but the color scheme kind of annoys me. That is not the way the world was then. It was probably the palette one can see of films made in the early phase of color films, due to whatever technology constraints/features that were present in film stock and printing. Some of my favorite films and filmmakers do this, but they have other merits to overlook this annoying choice. Any thoughts?
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Kino
Published writer
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Post by Kino on Mar 5, 2009 0:01:52 GMT
It seems like only certain sequences in the film are in that color. This is of course, going off of the trailer.
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Jenson71
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Post by Jenson71 on Mar 5, 2009 5:20:47 GMT
I think it was the factory pollution back then. The fresher coal had weird effects on the sun.
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Post by ronnierocketago on Mar 6, 2009 1:42:20 GMT
I have brought up this point before, but was reminded of it again when I saw the trailer of "Public Enemies". Nowadays I get annoyed when I see the low saturated yellow-cast color palette to convey the idea of period setting (particularly early to middle of 20th century). All those old cars, hats, coats etc are fine, but the color scheme kind of annoys me. That is not the way the world was then. It was probably the palette one can see of films made in the early phase of color films, due to whatever technology constraints/features that were present in film stock and printing. Some of my favorite films and filmmakers do this, but they have other merits to overlook this annoying choice. Any thoughts? Is it possible that filmmakers do this because the audience might expect it? For example, why is it that every action movie that has the hero be around a pool table, an inevitable fight will occur where the hero uses cue sticks/billard balls/table itself to kick some baddie ass? At least I usually expect that. |
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Jenson71
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Post by Jenson71 on Mar 6, 2009 2:10:04 GMT
I expect spontaneous exotic love on top whenever I see a pool table in a movie.
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RNL
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Post by RNL on Mar 6, 2009 2:28:50 GMT
If people are playing at the table I usually would expect a head-on, table-top shot of a player bent over, looking down his cue toward or directly at the lens.
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Jenson71
Ghost writer
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Post by Jenson71 on Mar 6, 2009 2:38:51 GMT
RNL, you are quite the risque devil.
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Post by svsg on Mar 6, 2009 2:54:58 GMT
Is it possible that filmmakers do this because the audience might expect it? Actually I fear that. |
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Capo
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Post by Capo on Mar 6, 2009 14:33:09 GMT
I'd like to make a pool film, with the camera completely static and unmoving, overlooking the entire table, like professional TV footage People would get insanely bored, but you'd actually get a sense of the actual table movement and placement of balls. I'd star in it too, of course, in all my ambidextrous glory.
As for filmic period settings, they're always "epic" in scope, too, in the way the camera pans are plush and fluent; you'll always get a crane shot, too. You'll rarely get a 90-minute period film. Or at least I can't think of any.
Herzog's very good at that sort of thing - or he was in the 70s, anyway. Svsg, check out Devil in a Blue Dress.
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Post by ronnierocketago on Mar 6, 2009 22:08:37 GMT
As for filmic period settings, they're always "epic" in scope, too, in the way the camera pans are plush and fluent; you'll always get a crane shot, too. You'll rarely get a 90-minute period film. Or at least I can't think of any. That's true. Shit even BACK TO THE FUTURE has the crane shot. |
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