By The International Journal of Film & Digital Production Techniques
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Extra info for American cinematographer vol.90.2(2009)
The entire dry-for-wet effect is put to the test in a take that lasts no more than a few seconds: with air movers attacking the actors from all sides, King (playing the siren Lorelei Rox) leaps in the air, kicks her legs and shakes her hair while Macht (playing The Spirit) throws himself forward in a belly flop. The whole thing lacks a certain grace, to say the least, until the Phantom HD’s footage is played back. Suddenly, both actors appear to be suspended in the depths, hair and clothes swirling around them.
I doubt most viewers will notice that, but they will feel the scene change to awkward preteen romance, played a little brighter and with lower contrast for a happier mood. Our first “master twin” shot is in the Real Kitchen, wide on Coraline and her mother against the window. Paul Gentry used directional soft boxes to throw backlight in through the window, with just enough front fill to keep it all looking rainy and bleak. Later, we see the same composition but on a much more appealing Other World kitchen.
Witmer Top: A frame grab from the sequence as originally recorded with Panavision’s Genesis. Middle: The frame with the high-contrast, low-saturation Mash4 LUT applied. Bottom: The composite frame with Look’s background before the Mash4 was reapplied. American Cinematographer 47 Dead Reckoning blacked-out tent to check his image. “Once you’re in that tent, you’re one level removed, and you can make mistakes because you’re not connected with reality. A cinematographer’s job is to run the set, dance with the actors, dance with the director and make things happen.
American cinematographer vol.90.2(2009) by The International Journal of Film & Digital Production Techniques
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