In the movie, that’s probably the nicest part, just looking at the colors. With the third part, we had to make the colors more warm, more lifelike, but not too much, not like a commercial for Greece. You have to notice everything they’re saying, and so there can’t be too much action with the camera. The second part is in the court, which is the same all over the world, so clean, the same light, the people in the same places, never changing. We did the first part a little dirty-it was shot in a super-16 mode. Klaussman: If you get the script, and you see there’s a first part, a second part, and a third part, then you know you have to do each part differently. It did seem to me in the first part that there are more dark greens and blues and grays, and then things brighten somewhat as the film goes on. NFS: Could you say a little bit about how the palate of the film developed? After watching it, I tend to divide it in large sections there’s the first two parts, involving the crime and a more standard courtroom drama, and then there’s the last part, with an emphasis on solitude and grief. "We had to make the colors more warm, more lifelike, but not too much, not like a commercial for Greece." ![]() Katja's plight is excruciatingly clear, and our visual experience of the film makes it easy, even compulsory, to feel for her as she takes judgment into her own hands.įrequent collaborators, Klaussman has worked with Akin on several past films, and he sat down with No Film School to detail the experience of working on their latest. Rainer Klaussman's intensely dynamic cinematography pushes us along throughout, moving toward a radical conclusion that never loses sight of the film's heroine. Going from a courtroom trial to her final resolution of the wrongdoing, this harrowing film traces Katje's process of dealing with loss. When she returns, she finds her family has been killed in a bombing attack. ![]() ![]() When the film opens, she's left their son at her husband's workplace, planning to meet up later. In In the Fade, Katja (Diane Kruger) has a seemingly happy life with her husband and child in Hamburg, Germany. If you had to diagram Turkish director Fatih Akin's new film, you might draw an inverse triangle gradually narrowing to a very sharp point. However, dissolves are still used in animated shows.The cinematographer knew the only way to capture challenging subject matter was to work with a team he trusted. A very rare (and effective) example of this is seen in A Place in the Sun, directed by George Stevens, shortly after the climactic sequence when Montgomery Clift's protagonist has drowned Shelley Winters’ character and is now fleeing. It is very rare to see a shot which both begins and ends with a dissolve. The impact of television news reporting may also have resulted in the device losing any pretense of having a contemporary feel.ĭissolves are usually kept to a minimum in most films. It is also sometimes held that the effect was best utilised in monochrome cinematography, where gradations of gray are mixed rather than possibly incompatible color tones. The device began to fall into disuse as filmmakers fell under the influence of the French New Wave directors and their innovative use of the jump cut and as the absence of a linear narrative became more common. In the "News on the March" (montage) sequence shortly afterwards, however, the dissolves are much shorter as the intention is to create a sense of vitality in the life of the still mysterious lead character and speed in the (supposedly) newsreel sequence.ĭissolves are most common in classic cinema (see continuity editing), but are now less often used. For instance, in the opening sequence of Citizen Kane, the dissolves between the master shots are slow because of the pervading sense of morbidity Welles and his collaborators wished to create. In narrative terms, the length of the dissolve is dictated by the mood or pacing the director or editor wishes to create. Short dissolves (6–12 frames) may be used to soften obvious hard cuts which may startle the viewer, or jump cuts. It is as if the viewer suddenly and instantly moved to a different place, and could see the scene from another angle.įades and dissolves typically have a duration of 1 to 2 seconds (24–48 frames), though this may vary according to the preference of the director and editor. A camera cut changes the perspective from which a scene is portrayed. The audio track optionally cross-fades between the soundtracks.Ĭuts and dissolves are used differently. In non-linear video editing, a dissolve is done using software, by interpolating gradually between the RGB values of each pixel of the image. ![]() In linear video editing or a live television production, the same effect is created by interpolating voltages of the video signal. In film, this effect is usually created with an optical printer by controlled double exposure from frame to frame.
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