Have you ever been enjoying a film or TV series, only to suddenly find yourself squinting at the dark screen? Recent releases including “Euphoria,” “The Batman” and “Handmaid’s Tale,” as well as classic films including “Alien,” “Taxi Driver” and “Seven” all utilize dark imagery, but what if the visuals are simply too dark to see everything in the frame?
While dark scenes are usually due to the filmmaker’s vision, there are several factors both at movie theaters and when viewing at home that will affect the viewer’s ability to see what’s going on onscreen.
Home viewing
For home viewers, one culprit could be the viewing environment, according to digital imaging technician Nicholas Kay. When he goes to visit his parents’ house, he’s aghast at the butchered image quality on their television screen, which Kay believes should be as neutral as possible. As someone who spends...
While dark scenes are usually due to the filmmaker’s vision, there are several factors both at movie theaters and when viewing at home that will affect the viewer’s ability to see what’s going on onscreen.
Home viewing
For home viewers, one culprit could be the viewing environment, according to digital imaging technician Nicholas Kay. When he goes to visit his parents’ house, he’s aghast at the butchered image quality on their television screen, which Kay believes should be as neutral as possible. As someone who spends...
- 3/12/2022
- by Sasha Urban
- Variety Film + TV
I interviewed Sean Porter for the first time early last year about his work on Jeremy Saulnier's slasher/thriller Green Room. The second time around was a bit brighter, a beach-side domestic dramedy: Mike Mill’s coming of age epic 20th Century Women. And here we are at interview three with his most expensive film, the Sony funded studio comedy Rough Night starring Scarlett Johansson, Kate Mckinnon, Zoe Kravitz, Jillian Bell, Ilana Glazer and which was directed by Broad City’s Lucia Aniello & cowritten by Paul W. Downs. In the gamut of the three, I’ve no clue where to place it.
On a technical, on-set structure spectrum I’ve got a better idea. Rough Night moved the fastest. Sean opens up about his first experience on a big budget studio film, how he managed to light at a breakneck multi-camera TV-style pace with bare minimum prep, and the perks of industry veteran reinforcements.
On a technical, on-set structure spectrum I’ve got a better idea. Rough Night moved the fastest. Sean opens up about his first experience on a big budget studio film, how he managed to light at a breakneck multi-camera TV-style pace with bare minimum prep, and the perks of industry veteran reinforcements.
- 6/24/2017
- by feeds@cinelinx.com (Aaron Hunt)
- Cinelinx
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