A long article in ALL CAPS about camera placement and visceral impact. Also about how Tom Hooper, who directed Les Misérables, totally blew it by aping Stanley Kubrick without a clue as to what Kubrick really did with the camera. While the whole article is about film making, it gives anybody who is interested in iphonic art plenty to think about. Camera placement, angle, depth of field, palette, contrast, and, implicit if one cares to think about it this way, the appropriate apping of images.

DID YOU KNOW THAT THE PLACEMENT OF A CAMERA IN A FILM HAS A DIRECT EFFECT ON YOU AS A VIEWER?

FOR SOME OF YOU, OF COURSE YOU KNOW THAT.

FOR OTHERS, MAYBE YOU DIDN’T KNOW THAT. MAYBE YOU DON’T UNDERSTAND JUST HOW MUCH A CERTAIN ANGLE AND WHAT IS PRECISELY SHOWN IN IT CONVEYS NOT JUST A VERY SPECIFIC MEANING, BUT HAS A DIRECT PHYSIOLOGICAL EFFECT ON YOU THAT RESULTS IN A CAREFUL AND PURPOSEFUL MANIPULATION OF YOUR EMOTIONS.

AND FOR MOST OF YOU OUT THERE, YOU INSTINCTIVELY KNOW WHAT HULK IS TALKING ABOUT, BUT PERHAPS DON’T UNDERSTAND THE SPECIFICS, THE LANGUAGE, OR MOST IMPORTANTLY OF ALL, JUST HOW MUCH IT TRULY MATTERS.

HULK HAS TALKED ON AND ON ABOUT HOW MUCH SOUND IS “THE ACTUAL VISCERAL EXPERIENCE OF MOVIES,” AND THAT IS VERY MUCH TRUE, BUT THAT STATEMENT IS NOT TO DOWNPLAY THE STUNNING IMPORTANCE OF CINEMATOGRAPHY THAT CONVEYS BOTH INFORMATION AND FEELING TOO. EVERY USE OF ANGLES, SPECIFIC CAMERA, LENS, PROXIMITY AND FRAMING HAS A DIRECT CORRELATION ON HOW THE VIEWER TAKES IN THE INFORMATION. IT IS NOT AN ACCIDENT THAT THEY CALL THE FILM CAMERA “GOD’S EYE” BECAUSE IT’S OUR GATEWAY TO OMNISCIENT EXPERIENCE. AND IT ALL ADDS UP TO ONE VERY SIMPLE NOTION:

CINEMATOGRAPHY MATTERS.

As I said, all caps and quite irritating for that, but I couldn’t stop reading it. Once more, the link.

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