Download Every Frame a Rembrandt: Art and Practice of Cinematography by Andrew Laszlo PDF

By Andrew Laszlo

This publication examines the artwork and craft of movie images via a veteran specialist cinematographer's own studies on 5 significant films, every one chosen to demonstrate a specific sequence of demanding situations for the photographer. ''Every body a Rembrandt'' is an expression heard on sound phases and destinations across the world. whereas generally the expression is used calmly and never sometimes with a certain quantity of sarcasm, its actual which means speaks hugely of so much cinematographers' dedication to generating the easiest, finest, strange and remarkable photos for the reveal. in the course of the 5 movies he chosen for this e-book Laszlo is ready to convey the extensive diversity of complexity in movie images, from the quite basic ''point and shoot'' within the typcal western to complicated in-camera results. In recounting his ''war stories'' Laszlo is ready to convey the everyday actions of a cinematographer ahead of, in the course of and after filming the undertaking, discussing apparatus, movie shares, trying out, labs, unions, brokers, funds standards, and dealing with the director and manufacturer. The 5 movies mentioned are Southern convenience, the soldiers, Rambo: First Blood, Streets of fireside, and Innerspace. The booklet is illustrated all through with construction stills from Laszlo's wide assortment (12 in a colour insert). The ''war stories'' of a professional Hollywood specialist cinematographer Explains how particular difficulties and demanding situations have been triumph over for every movie Illustrated with construction stills from the author's own assortment

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Extra info for Every Frame a Rembrandt: Art and Practice of Cinematography

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But to me, "creative" or "artistic" differences mean something entirely different. To me they mean that there is a difference in the thinking of two creative people, each of whom is convinced that his or her idea is right, but each of whom should be willing to consider the other's idea, and then go with what he or she believes is best for the film. Walter and I found ourselves having just such a creative difference concerning a shot while filming Southern Comfort. The scene was the burial scene of five members of the squad killed by the Cajuns.

In fact, they helped maintain the character and the reality of the setting. The 1000-watt and 2000-watt units, installed above each of these light bulbs, however, did create a problem in that they lit up the rafters. This light spill is visible in some of the shots on videotape in the standard video frame. I will come back to this problem a bit later in the chapter. This type of lighting was completely in keeping with the rest of the "natural look" and the unlit quality of the film. In a few instances, as the happy tones of the interior scene slowly change back to horror, I did allow a few liberties with the lighting.

But he also must have seen some merit in my description of the shot, for he agreed to shoot the scene twice: his way and mine. As we discussed our "artistic differences," we even considered that both of the shots, or parts of each, might wind up in the finished film. This incident is a clear example of what true creative differences can be. It also speaks highly of a director whose integrity and commitment is for a better product rather than for any false ego. Months after the shot was photographed, in the editing room, without any consideration for egos or politics being allowed to play part and in the best interest of the film, Walter chose my shot.

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