Forum Replies Created
-
Replies
-
The last few iterations of Premiere Pro have captioning/subtitling tools baked in, as well.
I found this to be a pretty informative read on how this is done (Link).
Just some observations and thoughts in general:
- Composition, composition, composition. Where is the focal point in the shot? WHY is it the focal point?
- On that, think of “master frames.” For example, in that first shot in which Bond walks down the hall and isn’t truly revealed until he steps into the beam of light, the focal image is that of Bond in darkness with only that sliver of light illuminating his face, and our gaze is drawn in hard to his eye – if you’re using the rule of thirds, Daniel Craig’s eye is at the top-left intersection of the imaginary grid. Plan for those moments – like pre-vis for screen shots, I you will.
- Lighting is going to be crucial, and I’d suggest being ready to flag a LOT for interiors where you want to set up those pools of light. Also: I like using Pro-Mist or Cinebloom style filters to create halation around lamps.
I know the original post is over a month old, so the point may be moot. I’d love to see the finished product, if that’s the case!
With Mann as a specific reference, I assume you’ve checked out Heat – if not, bump that to the top of your list. Style serves the story, and it basically establishes a lot of the grammar for a lot of the neo-noirs to follow.
Not exactly in the genre, but using an aesthetic that is pretty simpatico: Scorsese’s After Hours, which was his first collaboration with Michael Ballhaus (I think). Ballhaus has strong ties to the New German Cinema movement, too, which makes a nice connection to Wenders.
How did the shoot go, by the way?
