Forum Posts

SA Ahad
Jul 28, 2022
In Welcome to the Forum
Inspired by the American magazine "The New Yorker", director Wes Anderson directed the new work "French Dispatch Weekly". The story is set in a fictitious town in France in the 20th century. Through the story structure of four chapters, it tells about the employees of the newspaper and the content of the report. The anecdote can be described as "a love letter to reporters". This article will introduce the retro and soft image aesthetics, ingenious set design, and bold and charming editing style of the "French Dispatch Weekly", and see how the crew expresses its beauty and creativity, so that the audience is fascinated by the delicate and humorous character stories, and once again shows its power The stunning charm of style aesthetics. AP_80503455181 Photo Credit: AP/Dazhi Image Wes Anderson Old-school down-to-earth photography techniques, the texture of the negative creates a retro aesthetic " Every time the director is describing the popular database look of that shot, I think 'what am I going to do?' or 'how is that possible?', but that's an important part of working with him, and we all succeed in the end." ── Director of Photography Robert D. Yeoman According to the reference list provided by the director, the director of photography, Robert D. Yeoman, decided to imitate a large number of French new wave films this time, and used the traditional academy ratio of 1.37 in "Welcome to the Grand Budapest Hotel", trying to use the quality of the negative to awaken the audience's appreciation of the old film. Memories, but at certain moments, it was deliberately shot with an anamorphic lens ratio of 2.39, Yeoman explained: “It was mainly to create some bold dramatic presentations.” "I like the visual beauty of the film. Its texture is an important element of the film, especially the black and white parts." Yeoman emphasized that since he and the director are both film lovers, the two quickly decided to use 35mm film. Photography, and mainly through the alternating use of black and white and color fragments, to highlight the meaning of color in the story, he explained: " The city has a beautiful and dirty feeling, all the buildings are very dark, but there are also these bright Color burst." imitating french new wave films In order to complete the precise planning of the camera movement, Yeoman assembled the shooting tracks in different directions, so that the same shot can continuously show the movement of the front, back, left and right. The director also insisted on shooting in a relatively old-fashioned way, so except for one scene in this film, he used a handheld stabilizer. In addition to the camera, almost all other cameras are set up with tripods or golf carts, and even high-angle images are shot on the scaffolding instead of using a common camera arm. At the same time, Yeoman also refers to the lighting aesthetics of movies in the 1960s, such as "Cold Blood", "Lai Huo", "Ghost Fire", etc. He usually uses natural light to shoot outdoors during the day, and uses tungsten light to shoot outdoors at night or set up scenes in a studio, but When necessary, LED lights SkyPanel are also used to adapt, he said: "These light fixtures allow us to quickly darken, warm or cool the picture."
French Dispatch Weekly Popular Database content media
0
0
2
 

SA Ahad

More actions