Out of this crazy colour “chemical reaction”, you can start seeing something that feels good, or at least a few elements that do. When developing the Look, I think it is important to forget the rules and throw things around - that’s when the great discoveries happen. At other times it can be a little tricky. The storytelling, time of day and cinematography give you very strong clues. For example, a few quick windows to drop down foreground trees and some more to light up distance patches of grass can really bring a frame to life.Īt times you can envisage a look straight away. He often created depth in his artwork by crafting pools of light in the background and leaving foreground elements in silhouette. Referencing a few of the best shots throughout the film keeps you on the right track, and helps with keeping a constant style, tone and level of qualityĪ reference we often drew from was the work of painter Gustav Dore. After narrowing it down to our winner and making any changes, I then put that away as our bible for the scene. We would then craft a little more and show director Peter Jackson some options after that. While the pickup shoot was happening during the week, I was working on snippets of shots and scenes from various parts of the film and developing a bunch of looks to present to Andrew Lesnie (DP) on the weekends. I came on board for the beginning of look development for the second Hobbit film, " The Desolation of Smaug", followed by " The Battle of the Five Armies".
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