For cavernous interiors such as this museum-like hall in Totenkopf's lair,
Adkins had to not only imagine the lighting that should fall on the actors,
but also work with CG lighting artists to design the look of the scene.
You don't exactly know where the light source is coming from because this
interior is supposedly all underground, he says. After the shoot, I spent
about six weeks helping the compositors and CG team understand what I wanted.
Fortunately, there were a handful of CG lighters on the project from the early
tests through post.
source: the american cinematographer
blue screen lighting unrespected gives avarage results on post, i'm realy suprised by the way they used it... the film '1930's mood and texture can't be the only reason or excuse of it...
second note, the black balance had (mostly) never been re-ajusted on the blue screen takes, so character's black are deep blue = flat pictures, look like pasted.
Capitain sky and the world of tomorrow.
will try to forget the no sens of it screenplay, desapointing as some sfx, still laugh on water balls used for spalshing... anyway, focus on the cinetographhy...
The originality of the film is to shoot on blue screen wich requires a specific lighting to get a good result next in post, mostly frogot, on some takes, "polly" is less than a meter from it... so it's fatal ! hard is here to talk about lighting 'cause mostly re-touched in cgi, but if something sure: none of the digital lighter ever left their pc to study it sadly... it comes from everywhere, no connection with the sources on set, durts on masks gently saved by the omnipresent glow around characters...
on the begining, Polly is more or less in the dark (digital) and look to mask the un control of incrustation process... sad.
Anyway, it's good looking but as flat as my scanner, no deapth on the picture...
Sin city done on the same process, and a true after light work, based on true cinematography... Sky's one would be a undred time better.
the cosmique movie award and selection here use as data, list of actual references...next fallow by articles and pictures for each named film.
Best Cinematography or Set Design of a 2004 Film
Nominees for the Fifth Annual Cosmique Movie Awards
Awarded to the film deemed by Cosmo voters to have the best
cinematography or set design for an eligible 2004 film.
Cinematography covers the actual filming of scene,
including the choice of cameras and lenses, camera angles,
lighting design and placement, and the like. Set Design,
which falls under the purview of the Art Director,
involves the creation of sets and the use of
furnishings and props within the set.
Taken together, Cosmo voters consider this category to be the visual
appeal of the film separate from special effects and costuming.
Sky Captain and the World of Tomorrow
Eternal Sunshine of the Spotless Mind
Lemony Snicket's A Series of Unfortunate Events
Also Considered: Alexander; Being Julia; Beyond the Sea;
Blade: Trinity; The Door in the Floor; The Dreamers; Garden State;
Harry Potter and the Prisoner of Azkaban; Hero; House of Flying Daggers;
Kill Bill, Volume 2; The Life Aquatic With Steve Zissou; Million Dollar Baby;
The Notebook; Open Water; The Passion of the Christ; The Phantom of the Opera;Ray; Sideways; Spider-Man 2; Stage Beauty; Straight-Jacket; Team America: World Police;Van Helsing; Vanity Fair;and A Very Long Engagement
cinematography: today's light workshop 'n theories...
practices based on day / night moods... on a simple set, some experimentations... Cold pale night, late afternoon, noon... different directions and gels, lights to use, reflectors, poly, flag to alined... Theories about colors, eyes perseption, the different lights in cinema and specificities... the camera perseption and set-up, film-stock re-action in certain situations...4 hours of info, tools, to re-use in a personal way... even like here...and for the next videos...