Logo-with-dark-gray
RSS Blog
Get this RSS feed

Hulu Summer Film School Week 3: Color Theory & Lighting

August 1st, 2014 by Kelly Lin

Image and video hosting by TinyPic
Greetings Hulu Summer Film School students! One of the most powerful tools in a filmmaker’s arsenal is their lighting kit. Through light and color, a cinematographer is able to enhance the mood of a scene and draw the viewer into the world of the character. Even the subtlest changes in light or color can give the most ordinary of objects an entirely new meaning. Explore the role of light and color through the following visual masterpieces. 

Required Viewing: 

1) The Red Balloon

Cinematographer: Edmond Séchan
Winning both an Oscar for Best Writing (Original Screenplay) and the Palm d’Or for short films in 1956, writer-director Albert Lamorisse’s The Red Balloon is among the most endearing children’s films ever made.  Its elegant and nearly wordless story tells the tale of a young boy named Pascal and his wayward balloon as they navigate the streets of Paris. From early on, it becomes apparent to Pascal (and the audience) that the balloon has a mind of its own — one that is mischievous and surprisingly headstrong – as the pair’s adventure through the city draws bemused looks from adults and the envious gaze of local neighborhood bullies.

Rather than photographing Paris in its traditional beauty, Lamorisse and his cinematographer Edmond Séchan focus on the city’s drabness, highlighting the contrast of dank buildings and alleyways against the vibrancy of the balloon’s deep red color.  Lamorisse composes the action in such a way that the balloon is always at the viewer’s center of attention, bobbing and weaving past glorious backdrops as it hovers above Pascal.  In one memorable and charming scene, Pascal and his red balloon pass by a little girl with her own balloon, a blue one.  As Pascal keeps walking, the red balloon floats towards the little girl and begins to “flirt” with her blue balloon before Pascal ultimately manages to wrangle it back.

The film takes a darker turn when the neighborhood bullies catch up to Pascal and ensnare his red balloon, subjecting it to abuse at the end of a slingshot.  But that tonal shift is essential, as it sets up a magical finale that won’t be spoiled here.  The Red Balloon achieves rarified air, capturing the essence of childhood innocence, heartbreak, and joy in such little screen time.

-Naveen Singh

2)  Eraserhead

Cinematographers: Herbert Cardwell and Frederick Elmes
David Lynch’s first feature film is a surreal meditation on the anxieties of becoming a father, of living in an alienating and dehumanizing world, and of feeling trapped in a life that is fundamentally fated to tragedy. The stark black and white photography and low-key, high-contrast lighting create a world that is apart from reality. Eraserhead might draw formal comparisons to other works and may have influences that inform its technical execution, but the film is timeless in its depiction of Henry (Jack Nance) and Mary (Charlotte Stewart) as they give birth to a child that seems completely alien.

Eraserhead’s cinematography and lighting help create one of the most self-assured, visually-compelling, and visceral portraits of an abstraction ever put on celluloid, and for that alone, it has a place in cinematic history.

-Christopher Rowe

3) Electrick Children 

Cinematographer: Mattias Troelstrup
A critical darling at the 2012 SXSW Festival, Electrick Children 
tells the story of a young fundamentalist Mormon who believes she has been impregnated by a rock song and ventures off to Vegas to find the singer on the tape, whom she believes is her baby’s father. While the plot may seem outlandish to most, the innocent idealism of our main character coupled with the film’s symbolic use of color and light make the whole “pregnant-by-cassette-tape” deal a bit more plausible than it initially comes across.

Throughout the film, a sharp contrast is drawn between the landscape of Rachel’s countryside compound and the urban sprawl of Las Vegas. Cinematographer Mattias Troelstrup capitalizes on the countryside’s natural light, giving each frame a subtle desaturation to reflect a sense of comfort yet also boredom towards the surroundings. The softened grading provides the perfect contrast to Rachel’s subsequent experience in Vegas, a world of bright lights and big personalities. There’s nothing conventionally glamorous about the slacker musicians and the “bummin’ it” lifestyle that Rachel encounters in her Vegas adventure, but through her unexposed eyes, and the subsequent cinematic interpretation from Troelstrup, everything is bathed in a technicolor glow to reflect the child-like wonder that Rachel feels towards this brave new world.

-Kelly Lin

4) Persona 


Cinematographer: Sven Nykvist
“Lighting Persona by Michael Koresky

Supplemental Viewing: 

5) Take this Waltz
Cinematographer: Luc Montpellier

6) Red Desert
Cinematographer: Carlo Di Palma

7) Wild Strawberries
Cinematographer: Gunnar Fischer

Extracurricular Resources: 

1) No Film School – A must-read blog for any aspiring cinematographer, No Film School has tons of great tutorials on how you can achieve the perfect lighting set-up for your own film. Check out these recent articles on how to create a three-point light set up with flashlights and magnifying glasses and the tools professional cinematographers use to light their scenes,

2) If it’s Purple, Someone’s Gonna Die: The Power of Color in Visual Storytelling – Besides having the best title in book history, this book has some valuable insights on how color is used to evoke emotion.

3) Sparkles and Wine Teaser – This music video is a testament to just how much lighting and color can affect tone, mood, focus, and perception.

 

Last comment: about 10 hours ago 1 Comment