We're living in an era where a lot of modern cinematography feels flat. There are many contributors to the issue. The ease of digital workflows on projects that shoot fast and cheap (as well as the standardization of cameras for certain platforms) has led to a lot of stuff looking the same, and it's usually overlit, all the same color, and lacking texture and contrast. It's not the fault of the gear. We would point the finger at a few people behind the camera.One Battle After Another, PTA's chaotic new thriller, breaks free from the mold by taking creative chances. And there's a lot we can learn from it.Check out Patrick Tomasso's video on this very topic below. - YouTube www.youtube.com Let Darkness Be DarkTomasso praises how the film's night scenes are "gorgeous" because they actually embrace darkness rather than trying to light everything. As he points out, our eyes can't see everything at night in real life, so why should cameras? When you let night scenes just be night, they end up looking richer and more saturated. Embrace contrast.This advice counters what many consider a trend toward darker, murkier images in modern cinematography. The issue isn't darkness, but when it's done poorly. Double Oscar-winning cinematographer Janusz Kamiński lamented to British Cinematographer what he perceives as a loss of lighting skills."When Philippe Rousselot (Dangerous Liaisons) shot dark scenes, he knew what he was doing with China balls. Now everyone shoots dark, and anybody could have shot it. Pictures are so...
Published By: NoFilmSchool - Yesterday