potato corner french fry stall

Have we forgotten what daydreaming is must everything secretly be fanfiction now

Well modern camera equipment can almost see in the dark so what do you even need lighting for?

i just gotta real quick make sure that youre joking. you are joking, right?

I’m not joking. Do you understand the ISO value system as it relates to film?

im not arguing that you cant film in the dark without special lighting (obviously you can), im saying you shouldnt. im arguing with the second half of your statement. the lighting in the first picture is very purposeful and enhances the horror of the film. they didnt get into the editing room and go “oh darn, we forgot to shine a light on the guy hiding in the shadows!” jaws was made scarier because you could rarely see the shark, so your brain invented the scariest possibility. you can just… see the whole man in the second picture. having a flat shot where the lighting doesnt even draw in the viewers eye to anything (much less obscure something thats supposed to give the movie tension and anticipation) looks fucking boring and adds nothing

thats what we need lighting for

One of these is much more visually appealing than the other

Lighting in film, and especially horror is so *so* important to the tension in the scene, it’s a significant part of visual storytelling, and the cinematographer/DOP (director of photography) should’ve picked up on that.

It’s particularly embarrassing in comparison to the original material, as with digital/modern technology, you can literally see how the shot looks while you’re shooting.

This should’ve also been sorted in comp and fixed well before distribution.

As already pointed out, the lighting values have no depth to them, thus creating a very flat scene (this is one of the first design principles we are taught in design for animation/film- if I had handed in a lighting shot or concept anything like this, I would’ve failed the module).

If you take the shots and put them into greyscale, you can see this a lot clearer.

In the original Halloween shot, we can see a high range of value (how bright or dark something is)- the lighting is brightest on Jamie Lee Curtis, the viewer’s eye is drawn to her first- we can see her emotions clearly and gain sympathy for her character. Then we are drawn into the darkest value, creating dread, and this is fulfilled and heightened with the contrasting (and next highest) value of Michael’s mask.

In the modern shot, all the values are within a similar range (mid-greys), and there is no proper depth in value- making the tension within the shot fall flat (not ideal for horror).

In fact, the highest value in this shot is the fire in the background- which is where the eye is drawn to first. The background. Not the action. So instead of feeling empathy or dread, we are focusing on the wrong details.

And yes, while it could be said from a film analysis POV that the flatness of the shot ‘puts the characters on the same fighting ground/level of power in the shot,’ I’m not going to give them the benefit.

To top it off, the use of colour in the modern shot highlights the errors in lighting. Whilst sharing the blue/orange colour scheme of the original shot, everything is blue except the one area of contrast, the orange fire. So once again, we are drawn to none of the action and instead the background.

With a very small edit in compositing and lighting to match the original Halloween, the feeling (and focus) of the shot is completely changed. The shot has higher contrast and range of values- the focus is on Curtis, while Michael feels more foreboding in the darkness. The contrast puts the characters on opposite sides- good vs evil, telling a narrative in contrast to the unedited shot.

These effects could’ve easily been achieved by adding a key light on Curtis and rim lighting on Michael in production, and if necessary, editing value depth in comp to enhance the raw footage.

TLDR: Digital filmmakers still need to know traditional film and design theory- just because you have good actors, cameras and composition, does not mean you can forgo basic film craft. The aim of cinematography is to enhance the narrative, not restrict it.

ultimately… who cares if cameras can see in the dark? we’re not making movies for cameras.

That.

absolutely criminal how falling into bad habits is the easiest thing in the world while developing positive habits feels like fighting a literal war

EXTREMELY rare w from the uk media

Defamation lawsuits in UK are heavily weighted in *favor* of the plaintiff. You have to have a pretty weak case to lose over there. If there wasn't a rabbid, inescapable social media campaign against Amber Heard, he would have lost in America too.

Incredibly alarming that talks of “peace” in Gaza seem to extend no further than a ceasefire. How do you think they’re gonna start off where they left off themselves? Their houses are destroyed, so many have lost mothers and fathers and brothers and children, they still have no clean water and no food. Any area Israel withdraws out of is an area it already knows has been rendered inhospitable. There was even a direct quote by some IOF soldier gleefully stating how he “wasn’t sure Palestinians could go back to their homes.” So what happens when the US “succeeds at negotiating a ceasefire”? Who will be responsible for helping the Palestinians rebuild all that they’ve lost?

Palestinians are literally being treated as invalids & it hurts so much to see. It’s so heartbreaking watching footage of Palestinians walking the demolished streets of Khan Younis in shock, with some saying (with no emotion, bc they’ve been enduring this for months) that their homes are simply gone. There was nothing to come back to by the time Israeli troops left. These are whole, multidimensional human beings like you and me who no longer have homes they could live in. And there is literally no recourse. They’re supposed to just pick up the pieces all alone. It’s so dehumanizing I could cry about it.

So important to reinforce that advocacy for Palestinian rights doesn’t end at a ceasefire that has already come too little, too late. At that point it would be about advocating for Palestinians’ rights for quality of life, Palestinians’ rights to retribution, and most importantly Palestinians’ right to freedom. Although those numbers have certainly intensified since Oct. 7, the Palestinian struggle goes back decades. I don’t want to see anyone hanging up their hats when the US inevitably paints themselves as the western savior Palestine has needed all along, finally flying in on a golden chariot to broker peace. This is far from over when a ceasefire is declared, and it’ll be far from over until every Palestinian enjoys the quality of life any human being is entitled to.

Orange frutiger metro

on sisters and soulmates

angels in america - tony kushner / ilya kaminsky / yves olade / end of desire - MUNA / maggie stiefvater / oh god - miya folick / angels in america - tony kushner

Frutiger metro for everyone (*^O^*)!!!

I have a folder called Time is a Flat Circle in which I collect evidence of humanity. Here is most of them.

Perhaps the world of 2044 will be as different from ours as 1979 now seems from our present time. But let us also echo this wish into the future— may they have peace and happiness.