Lens on Paper

By Aneek Chaudhuri

Lens on Paper is a book on film studies written by acclaimed filmmaker and auteur, Aneek Chaudhuri. The book comments on the usage of colors in Cinema and the significance of the same in expressing meaning in a scene.

Lens on Paper contains a detailed explanation of the usage of each color and its mathematical explanation in its practical usage. 

• Language: English
• Publisher: BookRix
• Release date: Jun 5, 2018
• ISBN: 9783743871199

Book preview

Colors: an Introduction

I propose a concise outline on the utilization of color in theater and film and point to a few references that I consider as fundamental on this theme. How is color utilized as a part of theater and Film? How is it unique and why? What is utilized in front of an audience and on screen as far as hues (props, outfits, make ups, sets, lights)? Are there any tasteful tenets and traditions, and how might they be addressed? I relate these standards and traditions to other color speculations. Specifically, what is the effect of specific hues in term of significance and in term of feelings? I examine the accompanying inquiries: how do color decisions take part in the tasteful decisions of a phase or screen chief? Are these decisions cognizant or oblivious? How do color sway on the watcher? Is it social or general?

I share some of my experience as a phase and screen executive as far as utilizing hues. At last, I clarify how I explain my own aesthetic practice with hypothesis, and how my status as an artist researcher enables me to do as such. 1. Presentation Colors pass on feelings. What's more, they as a rule pass on feelings in an extremely unpretentious manner, yet additionally in an exceptionally uncontrolled way. Hues are without a doubt an essential tasteful part in any imaginative creation. This part can be intentionally utilized or not, contingent upon the craftsman and on the procedure. Be that as it may, it is dependably there.

We should observe the way hues are utilized as a part of theater and film. In theater, the gathering of people can see a show since it is lit.

An incredible measure of believing is typically put into outlining the lighting. Furthermore, it is exceptionally regular in theater to put color channels on lights so as to make specific states of mind. The primary point of lighting is to make things in front of an audience unmistakable.

Be that as it may, the second point, as imperative as the to start with, is to make a fitting temperament for every snapshot of the story. A great deal of books have been composed about how to light a show (Palmer, 1993) (Setlow and Essig, 2012) (Gillette, 2013) (Reid, 2001) (Shelley, 2009).

Crafted by outlining the light for a show is normally done mutually by the chief and the light originator. Be that as it may, light isn't the main decision associated with hues in the elaboration of a show. Each decision in respect to the set, props, ensembles additionally affects the general color observation.

Also, at last, it is the blend of the two (the components in front of an audience and the lighting) that gives the group of onlookers a passionate affair, somewhat affected by the color observation. In film, the work on hues is very unique. The lighting is generally substantially less difficult as far as hues (Alekan, 1998) (Storaro, 2011) (Frost, 2009) (Brown, 2007) (Brown, 2011). Once more, the general color discernment is affected by the selection of sets, props, outfits. In any case, when a chief or a cinematographer needs to add a color tone to a picture, they put channels on the camera instead of on the lighting itself (there are obviously special cases).

Furthermore, the executive likewise has the choice to adjust hues with a colorist toward the finish of the postproduction chain. So a great deal of decisions identified with hues are made at the very end of the procedure, despite the fact that it is normally substantially simpler if these contemplations about hues have been examined and arranged before the shooting.

To abridge, both theater and movie chiefs utilize sets, ensembles, and props to affect the shades of their work. Yet, in theater, the lighting is the critical stage, being the one that uncovers what is seen. While, in film, the apparent hues are the aftereffects of a blend of channels put on the camera and tweaking made by the colorist toward the finish of the post-push chain.

To some extent 2, I portray in more points of interest what are the vehicles of color in front of an audience and in film. To some extent 3, I explore on the tasteful principles and decisions that can manage the utilization of color, regardless of whether these decisions are cognizant or not. To some extent 4, I draw cases from my own particular experience as a phase and screen executive.

Lastly, section 5 finishes up this basic overview on the utilization of color in theater and film.

color VEHICLES

Each component that is a piece of the plan of a phase or a set (furniture, ensembles, props, make-up, floor coverings, backdrop, divider paints, and so forth.) impacts the general color recognition. An executive can decide for example to have each component in pastel tones or in splendid hues, and that will clearly make an altogether different inclination. Each component affects the general arrangement.

A ton of motivation can be attracted this issue from the artworks of the immense bosses. Which works of art do an executive like the most? How are they made? What is the palette of their hues? Is it congruous or not? What disposition does it make? Works of art are clearly an awesome wellspring of motivation for stage and screen executives. For hues, as well as for structure, and for lighting. color and light go firmly together. Hues are the segments of light. So anything that produces light or reflects it or let it experience affects what is seen and on the shades of the scene.

Investigate front of you and notice each color you can see. Which ones catch your eyes first? What is the connection amongst color and light? Would you be able to list each component that is characterized, in addition to other things, by its color (a book, a divider, an encircled picture, a light, a story, a cover, and so forth.)? Presently, how might you depict your general feeling before this scene? What has the greatest effect on the meaning of this inclination?

This is the sort of inquiries stage and movie chiefs ask themselves while setting up a show or a film. As the chief, you are the individual responsible for the general style, and in this manner accountable for every choice that adds to this feel. Are there any principles that guide every one of the choices stage or screen executives need to make?

Style CONSIDERATIONS

The way chiefs approach hues is altogether different starting with one executive then onto the next. There are some color speculations that can be utilized as rules (Hyman, 2006) (Bleicher, 2011) (Mollica, 2012).

A few chiefs tail them, or if nothing else settle on their decisions monitoring them, and a few executives have their very own way to deal with color, which might be not quite the same as what these color speculations propose.

The way directors pick hues is based, as I would like to think, on a few things, and the impact of these things can differ significantly along their vocations: what they think about hues, their way of life, their involvement in utilizing hues, the inquiries they get some information about hues, the likelihood of them having a discourse about hues with their lighting architect or their cinematographer, the show or the movie they are coordinating and its needs as far as color, and so forth.

So there may exist a few feel administers about the utilization of hues, and they might be utilized by a few executives as rules, and broken by different chiefs, or even took after unwittingly by a few chiefs.

Also, a few people may contend that the information of these principles can just enhance the masterful capacities of an executive. Yet, as with any tasteful principles and rules, this is when chiefs can rise above them that they really progress toward becoming craftsmen. Another intriguing inquiry is the way certain hues affect significance and feelings, and these contemplations are likewise critical in the way chiefs work with hues.

Hues are parts of light, and thusly, each color has an alternate vitality. So each color has an alternate feeling, acts contrastingly upon us, and there are different approaches to draw a typology of hues, and these ways have been distinctive over the ages (Finlay, 2003) (Ball, 2003). There are not very many books that figure out how to do an incredible combination regarding this matter, yet two of them are especially astonishing as they draw from history, from different societies, yet in addition from otherworldly customs (Berton, 2002) (Simpson, 1999).

At last, there is the subject of culture and its effect on the understanding of hues as far as importance and feelings (Gage, 1999). On the off chance that color is inherently connected to a culture, at that point will a group of people in Japan or in Cameroons respond a similar path to a show or a film? Most likely not. What's more, the test at that point progresses toward becoming to discover approaches to make a show or a film as all inclusive as could be expected under the circumstances, in term of its narrating and passionate significance, despite the way that some of its tasteful parts will remain very identifiable as far as its cause, and may appear somewhat odd or odd to a few societies.

In any case, this is as I would see it one of the immense points of interest of social contrasts: they give learning encounters about different societies, and subsequently about our own. 4. Cases Here are some concise representations to the different focuses I talked about up until this point, browsed my experience as a phase and screen executive.

The main illustration is my stage bearing of the play The Lesson, composed by Eugène Ionesco, which I coordinated in 2010. I began by perusing the play again and again, giving pictures a chance to come into my psyche, and typically these pictures accompanied lighting and hues. Sooner or later all the while, I additionally played around with the color cards of William (Berton, 2002).

I thought of specific angles that I needed to stress in the play and I let my mind free-connect hues with these viewpoints. I chipped away at this show with Olivier Horn, who is an astonishing light creator. He caught the substance of what I needed, and made an interpretation of it into lighting in an exceptionally unobtrusive manner.

I additionally began contemplating the set, props, and outfits ahead of schedule simultaneously. I contemplated a little round table secured with a brilliant red fabric in focal point of the audience. And afterward I