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Why do good movies feel better than ordinary photography in light, shadow and color?
As an insider who specializes in this industry, I want to talk about my understanding. Technical level, of course. The composition of a movie picture needs many departments to build together. First, the art teacher should build or rebuild the existing scene to make it more patable and to make the information in the picture more unified and harmonious. Of course, there will be artistic treatment, color enhancement, deletion and so on. Many of the real scenes you see are not real scenes, but are built in the studio. Then the lights. Movies need accurate lighting, from simple background light to modeling light. Their logic is seen by human eyes in life, but it is precisely controlled and artistically processed. You asked me where I was in the sun? Oh, mom, shooting on location is a waste of time. Even the naturalistic shooting method will choose the most suitable lighting environment in a day, such as morning and evening. The other is my professional photography. From the choice of visual center in composition, to the color distribution in the picture, to the depth of field that conforms to visual habits (note that this is very important, the picture will become wedding syrup if the depth of field is too shallow, and it will become news if the depth of field is too real), then the choice of lens involves the style of lens imaging, the degree of color reproduction and the focal length (note that this is also very important). What kind of scene is not the basis for choosing a lens, but more of a reference lens. Generally speaking, large wide angle (below 12) and large telephoto (above 180) are not used much in movies, because they are not in line with the habits of human eyes and will easily jump. There are also special effects synthesis and color matching. Synthesis is not as simple as adding a little monster. Take a chestnut, the imperfections in the picture can be erased, and the insufficient smoke can be added. Besides, color matching, the current digital cameras are all log files or raw format files, which are all gray, and must be colored later. Color matching can not only change a certain proportion of light, create a contrast of different colors, but also create an atmosphere. For example, in some Hollywood blockbusters, the black color you see in the dark part is not simple black, and the bright part you see is not simple white. The colorist can change the different color tendencies of bright part, dark part and middle tone, for example, the dark part is red, the middle part is blue, the highlight is yellow, and people's skin color is also simple and complicated. You can also reduce noise or add noise of different sizes later to create graininess.

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