11/19/2022 0 Comments Visions of glory cardston, canada![]() That means knowing about perspective and how light changes the color on objects. Matte painters need to know how to make outdoor views look real, even if their vistas include fantastic elements. While matte paintings can portray any background, they most often stand in for cityscapes and natural vistas. They always exist in relation to other elements in a film, TV show, or video game. Matte paintings are not really works of art unto themselves. “You need to leave room for the overall composition that the director is working toward,” says Case. Regardless of the scene, matte painters need to know how actors, VFX, or other visual elements are going to be positioned in relation to the matte painting. “You work from those notes and build something out.” “If you’re working with an art director, they give you notes about the color temperature, camera depth, values, and mood of the scene,” says Case. ![]() Excellently restored in 2006 (and thank goodness we have the silent not the sonorised version), it is a film that should be on everyone's playlist.That kickoff meeting might include storyboards or concept art for the scene, or instructions about the look and feel of the shot. Of course "truth" will always remain relative and elusive but the intention of the film-making is here all-important. Notable for instance are the markedly unpropagandist representations of the Germans. Despite the film's attempts at objectivity it is inevitably in the context a somewhat patriotic (some understandable cocorico's particularly towards the end) and mildly sentimental account (and there is a quite deliberate impressionistic "subjectivity" built in, as it were, to the objectivity) but it nevertheless succeeds remarkably well at approaching a kind of "truth" cinema entirely different from the formally realistic and intentionally untruthful US model. The defence of Verdun is an iconic moment of the Great War (now nearly forgotten? by whom? not in France, my friend). There is an important continuum here between naturalism and so-called "impressionism" which is often overlooked by seeing "French impressionists" rather falsely in isolation as a separate "movement" (David Bordwell, typically) rather than appreciating the links back (particularly to the films of Albert Capellani in France) and the links forward (to Jean Vigo and "poetic realism"), and the links laterally to equivalent developments in say Swedish and Italian and even Japanese film, a broader perspective that places the films of this period in the absolute mainstream of European (as opposed to US) cinema. It is a highly important exercise in docufiction, of a very different kind but in its way just as important as Benjamin Christensen's great films Haxan of 1922 and it is a hugely important example of European "naturalistic" style (tinged with impressionism, which might be described as an intensified from of naturalism) that can be seen at it very best in the European films of the late 1920s both in documentaries (city symphonies like Ruttmann's Berlin and Vertov's Man with a Movie Camera) and in the photoplay (The films of André Antoine and Jean Epstein, Gance's La Roue and Napoléon, Kirsanoff's Ménilmontant, the "Ziller" films of Gerhard Lamprecht, Robert Siodmak's Menschen am Sonntag, Murnau's Der letzte Mann). It is a shade shocking to find how little known this film is. ![]()
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