SnokenKeekaGuard@lemmy.dbzer0.com to Traditional Art@lemmy.worldEnglish · 15 days agoThere will never be another moonlight painter like John Atkinson Grimshawlemmy.dbzer0.comimagemessage-square20fedilinkarrow-up1419arrow-down12file-textcross-posted to: [email protected]
arrow-up1417arrow-down1imageThere will never be another moonlight painter like John Atkinson Grimshawlemmy.dbzer0.comSnokenKeekaGuard@lemmy.dbzer0.com to Traditional Art@lemmy.worldEnglish · 15 days agomessage-square20fedilinkfile-textcross-posted to: [email protected]
minus-squareSnokenKeekaGuard@lemmy.dbzer0.comOPlinkfedilinkEnglisharrow-up17·edit-210 days agoI’m of the opinion that night scenes in cinema should be shot with a similarly tinted green. Not black as is the case now thanks to the Caravaggio’s chiaroscuro inspired film noir light. Nor as the blue light of early color films. Blue feels like dusk or dawn. For example the recent nosferatu by Eggers. Green must be the cinematic color of the night sky.
minus-squareNycto@lemmy.worldlinkfedilinkEnglisharrow-up6·15 days agoI think I recall a few films that did this. I want to say City of Lost Children and/or Dark City had green sky effects.
I’m of the opinion that night scenes in cinema should be shot with a similarly tinted green.
Not black as is the case now thanks to the Caravaggio’s chiaroscuro inspired film noir light.
Nor as the blue light of early color films. Blue feels like dusk or dawn. For example the recent nosferatu by Eggers.
Green must be the cinematic color of the night sky.
I think I recall a few films that did this. I want to say City of Lost Children and/or Dark City had green sky effects.