Meet Arsenal, the smart camera assistant.

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Once I started using reflectors I discovered I could start bringing a bit of the background back into my shots by decreasing the difference in exposure for my subject and background. A reflector does just what it says: it reflects light.

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Top 20 Cinematography Blogs And Websites To Follow in 2018

A point-of-view POV shot is one where the camera is positioned in such a way to give the audience the impression that they are viewing the scene as a character in the film. A similar type of POV angle, regularly used in action movies, is where the camera is placed close to ground level alongside one of the wheels of a speeding car, adding excitement through a feeling of participation in the drama of a chase scene. One of the earliest well-known uses of the technique is in Napoleon Abel Gance,1927 when the camera was wrapped in protective padding and then violently punched around the set by a group of actors in order to recreate the ordeal of the central character being beaten up. Some directors, such as Alfred Hitchcock, are famous for using point-of-view cinematography in many of their works to build suspense or add to the sense of fear they are trying to instil in the audience. Nowadays, POV photography is everywhere and has become totally ubiquitous as just about anybody can go out and buy a Go-Pro camera, strap it to their ski- or bike-helmet and start filming away; Facebook and YouTube are full of first-person accounts of thrill-seekers hurtling down black runs or bumping along single-track mountain trails. It is the more memorable cinematic examples, however, that shall be examined in the following list. Lord of War Andrew Niccol, 2005 Loosely based on the Russian arms-trafficker Victor Bout played by Nicolas Cage , who allegedly sold or transported weapons to opposing sides in the same conflicts, and starring Ethan Hawke as the UN inspector pursuing him, this movie was endorsed by the humanitarian NGO Amnesty International for showing the duplicity of world governments in their contradictory approach to the international armaments industry. Remarking upon the economic scale of the global operation which his film sought to represent, director Andrew Niccol revealed at a press conference that, for a scene featuring a stockpile of over 3000 Kalashnikov AK-47 assault-rifles, it was cheaper and easier to go out and actually buy the real weapons than it was to make or procure fake props. Strange Days Kathryn Bigelow, 1995 Written by James Cameron who also penned The Terminator and Titanic, this dark and brooding sci-fi is set in Los Angeles at the end of the last millennium. The portrayal of scenes in which characters wear the headsets and play back those memories is shown onscreen from the perspective of the person who experienced and recorded them. They take a more sinister turn, however, when the subject is a psychotic killer recording everything he sees and feels as he commits a violent murder. They become darker still when the recording is made from the POV of the murder victim herself as she is viciously raped whilst simultaneously being choked to death. Halloween John Carpenter, 1978 Committed to an institution as a six-year-old child for murdering his sister, Michael Myers escapes fifteen years later and returns to his home town to terrorise successive generations of teenagers on Halloween night. The adult Myers, played by Tony Moran, speaks no lines at all in the film and is shown mainly from first-person point-of-view. The Terminator James Cameron, 1984 The first feature in the time-hopping cyborg franchise had Arnold Schwarzenegger playing the role of the bad guy. Long on hight-tech special effects but short on deep-meaning philosophical soliloquies, the killing machine of the title is sent from 2029 back to the present day 1984 to eradicate the mother-to-be of a rebel leader in a future war against a robot army. This perspective reminds the viewer of the mechanical nature of the central character and reinforces his lack of humanity and inability to feel empathy with his victims. There are many reasons why this classic film is so eminently watchable; one of them is the masterful way that Hitchcock uses point-of-view cinematography to represent the symptoms of suffering a fear of heights. The English auteur is renowned for using camera angles to endow his films with a sense of fear or anxiety but, in Vertigo, he takes the technique a stage further to replicate, almost viscerally, the effects of acrophobia.

In the photos of Sunny below, he was standing in the shade with a nice rim light from the setting sun the top image was my test image to get the correct background exposure. Fortunately, most reflectors come with covers made from different materials that you can north change depending on your needs. Use the below code to display this badge proudly on your blog. Website Facebook fans 660. I personally give you a high-five and want to thank you for your contribution to this world. About Blog British Cinematographer is Europe's No.