Manner operator formed from picture to picture. He download the film boos
and studied the profession, while mastering it and opening it all the new and unexplored possibilities.He was free of the pre-revolutionary cinema dies, and his natural drive and energy themselves pushed for experimentation. While the cameraman work is not self- determined.There were a number of disparate techniques of lighting, shot composition, tricks and effects, and the use of their operators was of a rather casual and formal, rather than semantic, ideologically driven, artistic.Despite his youth cinema operator in practice have formed complex visual techniques and out of their understanding of the boundaries of technical possibilities. Among experienced cameramen, brought up on the playing melodramatic film in pre-revolutionary Russia, there was a kind of spirit of conservatism.For example, it was thought that to shoot in overcast, gloomy weather, technically illiterate, not to mention shooting at night, and unusual camera angle seemed in bad taste, indecent, a kind of bravado.As valuable to us now some random comments about particular moments or filming techniques in the memories of directors, actors and operators: they can feel the atmosphere in the cinema of the time. Here, for example, that Pudovkin wrote in the magazine "Soviet Screen" in 1927 on the film "The End of St. Petersburg":"Head, mud, found a very interesting techniques for opening the inner meaning of the frame. One of these methods is the "abnormal" situation shooting machine. All the pieces in which we tried to achieve a dynamic saturation, we shot a wry, sideways, almost twisting machine with material inside out.Professionals who came to the shooting, and had seen the cerebral sitting on the ground and download the film boos
and turned inside his head to look through the peephole and strewn wildly skewed system, smiling ironically, considering it unacceptable sophistication or eccentricity. "Not all could see then in a daring search of cinematic imagery desire in the first place to find concise and accurate visual expression of a new, revolutionary content, which for the first time in history was the basis of the young Soviet cinema.Deep inner conditioning each artistic technique that is now so evident in "The Mother", "The End of St. Petersburg" and "descendant of Genghis Khan", while not all seemed so certain. Everything was new."It was not yet known that can do photography, perspective, composition, everything just grope, to seek," - he wrote later statement in the book "Light of the art of the operator."In the mid 20's "grope, to search for" new ways of taking close-up, landscape, new lighting techniques, in which, as it were "alive" the actor's eyes, new ways of combined lighting on location, new forms of graphic and tonal organization of the frame, the new principles field joint plans ...Supporters - the director and cameraman - in close cooperation together, groping, intuitively, but with conviction sought to disclose the most expressive nature of content.