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Fairy tales of the Viennese wood

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They go out into the street in those brief moments when the night had ended, and the morning had not yet arrived. Dawn mist shrouds nezhnorozovoy street, softening the sharpness of their outlines. They still only siluetyploskosti instead siluetyobemy. Massive house seem easy, almost transparent.Then, once - a dark damp basement, shelter homeless. A sharp change in color knocks us out early in the morning of poetry with his serorozovoy pastel tones and plunges into korichnevochernuyu den where sleeping street children in the heavy, stuffy world of their lives.So, at a certain straightforwardness colors in movies Magidson manifested most importantly - understanding of dramatic possibilities of color in films. "Harmonic color unity can be achieved even with perpetual motion" - wrote Magidson.But you need to at least mentally and to make the color of the future film score has when reading the script. "The color of the material to be laid in the frame before shooting" - that is, should be particularly carefully considered color sets, costumes.The possibility of random color combinations, sounding like a false note, should be excluded."At all stages, it was and will be the task - to break imperturbable, once established household correlation of elements of phenomena - in this case, the color effects - in the name of ideas and feelings, seeking to speak, sing, and screaming through these elements "- this is the word of Eisenstein. And further:"From the motley carpet irregular color we actually in the name of solving expressive tasks should throw those parts of the spectrum, those sectors obschetsvetovoy palettes that do not sound to match our mission."These guidelines set forth by Eisenstein in 1946, "the first letter of color" were intuitively understood and accepted Magidson, as they coincided with his artistic inclinations.Ability Magidson not theorizing the Conference without diskussiruya openly with colleagues, intuitively and empirically understand the special, the natural laws of color cinema manifested itself in unraveling them "secret green." The most difficult to play on the film was green. He receives or brown, or poisonous.Operatoryteoretiki argued calculated ... Magidson tried looking for. And suddenly he stunned all the famous "green spot", which reproduced the various shades of green, proving in practice the richest possibilities of color cinematography at that stage of its development. The notes Magidson we find the following statement:"Green is not obtained because of the few traces of them. For indifference to her green that adorns our life, revenge.

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then he started getting purple, then yadovitozelenym but rarely harmoniously blended with a number of standing color, especially jealous of the appearance of a person in the frame.Green is modest, and can never be, that it sway in the frame. It is lyrical, harsh and indifferent. It is associated with light and the time of the day. Look at the green at the beginning and at 12 o'clock, and you will feel its emotional color.In the early days - it gently with a pinkish, which is felt in nature at sunrise, noon - the color "after the manner" - he loses all lyricism, it is not associated with our ideas about beauty. " The secret of good luck "green spot" was simple:The operator removes the green near the water or to the light when things seem to be more transparent and therefore more intense green and clean.