Why do most movies use blue-green tones?

Why do most movies use blue-green tones?

Special effects shots are more and more widely used in movies. In order to save costs and achieve faster results, people and other important props are usually photographed under the blue back or green back, and then the background environment is added through post-special effects. The layout of the blue and green back is very important when shooting, which is related to the authenticity of the finished product and the difficulty of making it.

Statement 1:

Two reasons:

First of all, the modern shooting scene, the popular Keno flo light group. The advantages of this lamp group are stability, low temperature, light scattering and lensless.

However, Kinofolo lamp group has a disadvantage, that is, it will be used for too long, resulting in too high temperature. It will turn green when it is high, and it will turn green immediately when the voltage and current are insufficient. Once the green shot was taken, in order to save the film later, the whole scene was simply turned green.

Second, the seven deadly sins have started the trend of greening.

Seven deaths and a lifetime is also one of the leaders who make movies with kinofolo lights. A lot of green is used in the film, such as the house in Brad Pitt, where all the walls are green.

Some people say that because the film is bloody and wants to set off "blood", it deliberately emphasizes green. The so-called "red with green, dog smelly fart".

In addition, some people say that it is because the Keno flo lamp group in that era had a green problem, and the photography art followed the trend and simply turned it green.

In short, after the seven deadly sins, many movies boldly focus on green.

Statement 2:

This is an article in a magazine, which contains a paragraph about green for reference.

Slavomir Itzhak, a Polish photography director, was nominated for an academy award for best cinematography for his heartfelt photography in Black Hawk Down. This is his first collaboration with director ridley scott. In the past 30 years, Yitzhak has completed nearly 40 films, including The Double Life of Veronica and Red, White and Blue: Blue by Chielovsky, as well as Evidence of Life and The Last September.

Itzhak has enough time to test with the camera to plan the visual scheme of the film. However, the communication time with the director in the early stage was shortened. ? Ridley was too busy editing Hannibal to do the preliminary work. ? The photographer recalled that I faxed some of my ideas and ideas, but I really didn't have time to sit down and talk. ?

? In Poland, the status of photographers is very different from that of the United States. A photographer is usually employed by a director, who is responsible for the artistic features of a film. In America, the artist is the first person to sign a contract in the preliminary work. Although it is theoretically known that a photographer will work on the scene every day and cooperate with different directors and actors, his responsibility on the scene is obviously more important. ?

Yitzhak admits that Scott is famous for his clarity in the visual elements he really wants, so from his (Scott's) point of view, the previous discussion seems unnecessary. The photographer's pre-test mainly focused on the color control of his plan. ? Ridley accepted these suggestions quickly, so we didn't spend time discussing scripts and theories before we started working. ?

Like his previous works, one of Yitzhak's main achievements is his bold and unexpected use of colors. ? I think color is one of the means for photography directors to approach the audience's subconscious. He said,? As photographers, we all shot with the same film, and the audience saw thousands of similar sunsets, deserts and town colors. One of the purposes of going to the cinema is to see what is different, or to feel something different from our TV and daily life. Using new or original colors will bring a new look to the typical screen world. ?

? Ridley often mentioned that this movie would upset the audience's stomach. If I may say so, I'm trying to find a tendency to vomit. ? The photographer said humorously that aside from these jokes, there are many greens, oranges and some faded blues in the movie. The choice of color has two functions. First of all, it helps the audience to distinguish the different colors on the screen: the barracks are single and green, the towns are yellow and green, and the command center is blue because the display is blue. ?

Color also provides authenticity for visual elements. For example, at night, I use green because I don't want the green in soldiers' night vision goggles to form a big contrast with the atmosphere in the environment. The night scene of the blues will not only make the scene look too domineering, but also make the audience feel that they have known each other for a long time (a common established night blues). Second, a kind of CNN news? Television (news) night scenes are often green (because of the use of infrared night vision cameras), so we will automatically associate such colors with real events. ?

Another remarkable thing in Yitzhak's works is the use of color filters. ? I have been making my own film filter for many years. The purpose of using them is not only to guide the audience's eyes to a certain aspect of the screen. ? He mentioned,? Different filters play different roles. It is a powerful tool for me to keep the visual unity of the scene. Every tool in the photographer's hand provides us with opportunities for innovation, not just industrialized standard products. ?

In order to create a chaotic atmosphere in Black Hawk Down, Yitzhak chose several films. For outdoor scenes, he mainly chooses Kodak VISION 250D and EXR 50D films, and sometimes changes them to EXR 100T? I choose the film according to the weather conditions and the corresponding relationship between the film and the color filter and lamp. ? In the night scene, he used visual 500T and 320T.

At the shooting scene, Yitzhak used MOVIECAM camera and Zeiss UP lens. ? I mainly work with MOVIECAM and SL photography? He said,? In "Black Hawk Down", the size and operability of the camera are very important, and MOVIECAM performs exceptionally in different scenes. I used the ARRI 435 camera in some high-speed shooting and the ARRI 2c camera in crowded environment. ?

? We immediately discovered the great role of zoom lens in such a fanatical movie. We often have to react instinctively, so in addition to a set of ULTRA PRIMES lenses, I also prepared the ANGENIEU HR 25-350 zoom lens. ? He added.

"Black Hawk Down" contains the longest and fiercest battle scenes in the history of movies. In the midst of many actors, battles and explosions, it is very easy for the audience to get lost in the (similar) geographical environment and costumes. But photographers don't think this is a disadvantage. ? Apart from the hint of color use, I think one of the biggest characteristics of this film is our loss and confusion. ?

He pointed out? This is what distinguishes this movie from other war movies? The protagonist (in those movies) is easy to identify, and the ups and downs of the enemy and ourselves are artificial. In Black Hawk Down, we don't know who is who, but I think these provide authenticity and adventure for the film. ?

Manipulating different levels of organized chaos (scenes) is a great thing at another level. The logistical pressure for shooting such a long battle scene is unimaginable. ? When we make shooting specifications, the first specification is that there is no specification. ? Isaac recalled,? On the contrary, we have combined a wide range of working methods. We basically don't have the complete legend of the shooting plan. We shoot as intensively and actively as possible. Ridley's method is to achieve the goal by hook or by crook. ?

? We decided to shoot a lot of battle scenes first, and there was basically no need to design for a certain shot. So we used a 14 camera to shoot the war. At any time, I have seven cameras belonging to the first group, five cameras belonging to the second group, and two WESCAMS cameras on the helicopter, operated by the great aerial photographer John Marzano. Soon we divided into groups and filmed more detailed action scenes. ?

With so many cameras and shooting teams at the same time, controlling the overall atmosphere of the film has become an important technical problem for photographers.

? Logically speaking, a very important question is how to control the texture of light when it spans such a large time. ? He said,? We often struggle with strong sunshine and heavy shadows, and at the same time struggle with the great attenuation of contrast in the afternoon. Ridley solved the problem by changing the shooting plan quickly and taking advantage of the urgent need of light adjustment. We soon discovered that it was even more impossible to make a film like this? Dense atmosphere? ,? It happens to be a movie? Semi-real time? What the structure needs. We solved the problem of density atmosphere. Time goes by? The method of effect is to adjust the color during shooting and post-dimming, that is, to change the light as much as possible to meet our needs. ?

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