Vittorio Storrow's Light and Shadow

Like everyone else, I don't think everything can be done overnight. People always rise and fall with their own energy. The more you can get back to your roots, the higher you will climb on the mountain of life.

Vittorio Storrow 1940 was born in Italy. Because his father was a projectionist of a film company, Storrow was surrounded by films since he was a child. Storaro's first photography teacher should be his father. Storrow graduated from the Italian Central Film Academy and spent nine years studying photography and filming. Graduation is only 2 1 year old. His first work should be an independent film called Smoke.

Italian director Giuseppe Tonato (another name is bertolucci) often collaborates with Storrow. It is because of the cooperation between two masters of art created by the two years of Italian film downturn. Storrow's first film, Young, Young, was shot independently by a photographer at the age of 28. From the beginning of this film, Storrow really devoted himself to infinite film creation. Being young is like the birth of a child, and Storrow seems to have gained life. It is also because of this film that Storo's life-long photography concept and style have been created. He told the film "Young, Young" like this: "It is like a fingerprint, and it will never change. After the first attempt, I didn't just carry forward the elements. I tried to make it clearer, larger and more conspicuous. " At the time of 1965 Italian film renaissance, Storrow once again stood up to prove himself. Up to now, Storrow has been rushing to the shooting places of large and small movies. The most famous movie master in the world. Pay tribute to him. -

A film about the achievements of vittorio Storrow.

Speaking of Storrow's films, to be honest, I have only seen six films, Apocalypse Now, 1900 and luna.

The last tango in Paris, the red mole and the last emperor. According to the data, storaro has made more than 40 films so far, including many interviews about filming. He won the academy award for best cinematography three times, including Apocalypse Now, The Last Emperor and The Red Mole. 1994+0 1 At the International Film Photography Art Festival held in Torun, Poland in June, Storrow, who was only 54 years old, was awarded the Lifetime Achievement Award. Storrow's performance in the last emperor of 1987 transcended national boundaries and all boundaries. 1987165438+10 In October, Storrow had an academic exchange and creative exchange at the Beijing Film Academy, and talked about China's photography theory with several photographers in the so-called "78" class at that time. Here, he absorbed China's unique photography style, which was neither completely aesthetic nor completely documentary, and applied it to the shooting of the last emperor. Once, I saw Li Pingbin, a photographer from Taiwan Province, China, commenting on Storrow and the last emperor in In the Mood for Love, Spring in a Small Town and Letter from an Unknown Woman. After watching The Last Emperor, I burst into tears, and then said, "A photographer may not be able to shoot even if he has fully understood the history of China and the culture of China.

Vittorio Stroll's Expression of Photographic Light

Storaro uses light to depict characters.

In realistic movies, nothing can shape the film and inner world better than characters. These characters are fascinating in the actors' performances, and another factor is the photographer's lens modeling and light modeling of their roles. In the movie, the protagonist's psychology will not remain the same. Movies are actually like people. People will change and movies will change. In the face of personality changes, we can show it from the perspective of the lens, but lighting is the first. Only by using the characteristics of light can we get a good shape and profound significance for the surface and even the heart of its characters. And what kind of light does storaro use to classify and deal with the changes of the plot and characters in the film? This involves the plot of the film, the internal environment and atmosphere of the film ... and changes with the change. Let me give you an example here: For example, in the film Apocalypse Now directed by Coppola, Storrow often uses artificial light and natural light effects in the morning and evening to achieve the modeling of characters. For example, when the captain watched Colonel Coates' lens, a * * * appeared four times in the film. The first front backlight. And why is it backlit? I think storaro uses the side backlight to realize the shadow effect of the characters in the play, and the strip shadow of the drama words passes through the photo, which is in contrast with the colorful environment in reality. The second time, turn over the photos at night. The captain looked at Colonel Coates' childhood photos with a flashlight. The shapes of his characters are all gone. The expression of Coates' childhood in the photo and this small beam of light in the flashlight in the middle of the night show that the characters in the photo are in danger. The third time, for black and white photos, the silhouette effect and light ratio are very large, thus showing the danger of the characters in the photos, which has been divorced from reality. It will be wonderful and beautiful to highlight the downward plot of the film. Control the progress and rhythm of the whole movie. The fourth time, he appeared in a scene with strong warm colors. He used natural light and shadows to create a light spot on Colonel Coates' face, while his body was completely in darkness. If this kind of modeling is put in the first time, it will appear abrupt and puzzled when it appears in the second time, but Storrow just arranged it for the fourth time, which really made the finishing touch on the character modeling.

Interpretation of Storrow's use of photographic light effect to cope with the film environment and time and space

Under normal circumstances, I think many friends usually pay attention to the light when taking photos, but they may pay attention to the color, composition and angle. And the role of light in the film can not be ignored. Because light creates shadows, texture and three-dimensional sense. Storaro ran out of light in The Last Emperor directed by Giuseppe Tonato, especially in Yi Fu. Its light shape shaped the depression, glory and ups and downs of the last emperor. Dramatic light effects are used in the film, and generally large light ratio and contrast between cold and warm colors are used. This strong contrast reflects the inner feelings and hints of the characters in the film. It proves that the film won nine Oscars, and it is not only the plot of the story, the activities of the characters, and the details of their inner psychology that can make it successful. Instead, we use the movement of the lens, the light and the rhythm of the film to shape the psychological image of the film to the audience. Light effects shaped the walls, red columns, prison doors and windows of the palace, resulting in the imprisoned and manipulated life of the last emperor. And all this has created this movie master who writes with light.

Storrow made a deep impression when he made this film.

Storrow plays the role of the director's eyes and arms in all his films. He usually reads the script, analyzes it thoroughly, and then communicates with the director with his first impression of the film. For example, when he saw the script 1900, his first impression was the turbulent life. I chose the shooting technique of "Turbulence". When he saw the script "luna", he thought of his mother and made a film like "Motherly Love" with his own handling of the film. Here, I also want to mention one person. China's master photographer-Gu Changwei. My own movies give people the impression that they are very similar to Storrow. Rely on first feelings. For example, when he saw red sorghum, his first impression was red, and what made red was not only the red of sorghum, but the bright red. They grasp the main body of the book and their first impression design concept to create the whole film.

Storrow's color perception.

My first impression of Storrow's films is the atmosphere and rich colors, which make my eyes shine. Color is a very important element for human beings. It will create all psychological sensations and their behaviors. He believes that color is a part of light, and contrast and contrast create harmony and balance in the film. Color is a kind of emotion, a kind of feeling, which expresses the meaning of yourself or the characters and stories in the film through symbols. 1979, after Storrow finished Apocalypse Now. Once again, he was admitted to the Film Academy and books to study color. For example, in The Last Emperor, the balance of light, shadow and color is used to achieve the bending and fullness of the film. Many warm colors are used in "1900". For example, at the end of the film, when Max found several empty shots in front of 1900, the hue and saturation of its color fully showed the turbulent life of 1900. At this time, tears really fell inexplicably. This is my first reaction, from my eyes and heart. The style of the film lies in technique, color and tone. Everything they build in the film, including atmosphere, relationship and rhythm. ...

Storaro's success is inseparable from its own Italian culture. I have been cultivated by the art of this country since I was a child. Italian Renaissance, Leonardo da Vinci, Michelangelo, Raphael, etc. , so that the movie master retained a unique Italian film style. It explains every corner of the palace in the last emperor, including the atmosphere in the palace, rare royal items, mushrooms and so on. The Italian defined it perfectly with his own Italian style. No wonder Li Pingbin burst into tears after watching The Last Emperor, because the Italian inspired us to move on.

The style of vittorio storaro's photographic works is caused by his own heart, which is different from that of any photographer. This is a unique feeling. His unique observation angle, the main body of different films and his rigorous and serious attitude have made him.