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Beleuchtung - gesucht: Klassiker der Filmgeschichte

Lighting - looking for: classic films

Frage von commander:
April 2006


I am looking for a paper relating to film lighting outstanding film examples. In the context I would like scenes in Kubrick's "Barry Lyndon", the low-key shots with pure candlelight. Synonymous but other good examples of different film lighting scenarios.
Who think of examples, please post!


Antwort von Dave101:

Since You've really caught the best film, with the candles scenes were indeed revolutionary, but not synonymous with the lens next marveled. Guck Dir mal the remaining scenes and the lighting on. Actually, you can take any movie of Kubrick for the Unit, in particular, 'Eyes Wide Shut'.

Under this link there is an interview with John Alcott for Barry Lyndon. The rest is what Kubrick fans.


Which has priority, the unit then?

Antwort von commander:

First of thanks for the fixed answer, have such a pretty active forum.

The unit I believe in the professional AV design and is light and Film Lighting treated in general. The three priorities I will focus on the physical basics (color temperature, soft and hard light, reflections, etc) and design basics (lighting design, plasticity, 3-point lighting etc) and just the examples from the history of film.

But you're right, actually Kubrick's films are almost enough, but just a few screen shots of Welles' "Citizen Kane made. But of course I'm still looking for other "delicacies."

Thanks for the link that would make me just read ans.

Antwort von Axel:

Kubrick was a genius and a pioneer in film lighting, not only because of Barry Lyndon, he tried in every movie, inventing the movies again. Until then there was the feature film lighting rules, which reflected very little on the perception of light and refuge behind a professional arrogance. There are probably synonymous rarely the "feats" in the film that works inspire us, but the absolute flyer that said: "It has in the past - and na? For the future we need something better!"

It would be just as arrogant as the work of good craftsmanship to dismiss the pole. Also an author, as a rule, the film needs teamwork. The "director of photography" due to its light setting makes a contribution to the success of the film. Creativity is essential, but in the service of the cause, not for its own sake. In this film series of books telling USDI cameramen of this task:
Books I find the very successful, then I saw great individual performances in a rather weak shooting.

Antwort von Axel:

The link did not work, have renewed it.

Antwort von commander:

Yes, about Kubrick, I just think that if one synonymous Books read about him or has seen the documentary "A Life in pictures", you can feel his perfectionism and the desire to reinvent the film.
Especially the lighting in his shooting, and I mean not only the illuminating each of the set in the classic sense, but synonymous light distributor be used as a graphical element (see 2001: A Space Odyssey, sequence space and time) makes him a pioneer in this regard.

Thanks for the book recommendation, so far I have only the "textbook on film design" of Pierre Kandorfer at hand, which explains well the technical and theoretical background, but little or creative angewandetes rayed.

Antwort von Axel:

"commander" wrote:
so far I have only the "textbook on film design" of Pierre Kandorfer at hand, which explains well the technical and theoretical background, but little or creative angewandetes rayed.

This book is dogmatic and conservative to suffocation! And the author does not even know it himself, he said yes only the status quo of professional film production. In fairness, I must say that of course has made the technology in the last three decades, some jumps. Nevertheless, the result is home cooking, like comparing cookbooks from the '50s (The cookbook of the good housewife) with one book "of" Jamie Oliver, which probably is a spice scale alien.

In this book
In which it also comes to technical / design basics in film lighting, will also begin any deviation of the classical arrangement almost portrayed as heresy. Luckily s.end three living cameramen are interviewed, say almost unanimously that they had overcome these doctrines by experience.
Very enlightening for example, is what it says Axel block the Name of the Rose:

AB: A classic example of a grand miscast (the cameraman Tonino Delli Colli, dA) is in my opinion, "the name of the Rose".
Author: Why?
AB: A Director (JJAnnaud, dA), who tries to be as authentic as possible, as if it was then rotated, which can not be a cameraman, who comes from the studio tradition and synonymous rotates. (....)
Author: The movie still plays in two senses in a lightless time. Everything will be illuminated only of Ölfunzeln.
AB: He has not worked, however, but with one of Inky there, one Roof here, an edge of there. A classic light, without question, a very skillful lighting. (...)
Author: Would you have found someone suitable (...) here?
AB: Yes, someone who had worked in this direction more, not with this studio effects. (...)
Author: What do you mean with studio effects?
AB: The traditional illumination, guide, edge, lightening, (...)

Due to low sensitive film footage, slow lenses and a very early division of tasks, which were light-setter in the classic movie-making professionals that impose rules of their profession. Today's camera men are freer in their choice of means, but they are more purist than the founders, because they have no need and refuse to illuminate their stereotyped images. Instead, they take human perception, which is indeed very deceptive, for an example and play with it.

Kandorfer and his cronies would have surely asked Orson Welles as happy to turn those new newsreel part in the intro of Citizen Kane, in which several shots behind (usof Kane's private zoo) is very far behind the level of the matte paintings of this period. It's fun to imagine a remake that would fit into the state of the art film and stunt ... (Today is: everything that is technically possible, is made synonymous. Praiseworthy exception is Peter Jackson. The changing structure looks like incorporated with stop motion, the broken dam has nothing of Peterson's Maya giant waves and even the zoo in the intro of King Kong looks like a matte painting.)

As always synonymous to illuminate Citizen Kane, it took a craftsman (as synonymous for Barry Lyndon). One must understand the traditional lighting and control, extending them to new possibilities.

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