![]() ![]() ![]() We thought about an artificial world in which lighting moves like sunlight. “There was one particular cathedral that’s a big concrete block with two skylights that lets light in a most interesting way. “We looked at a lot of references of the way architects use light in modern buildings, and especially the way light falls on some of these big concrete structures. “It was about trying to find Wallace’s character and Denis and I spent a lot of time talking about the look of the interior,” Deakins said. ![]() There are hints of yellow everywhere, from a flower that K picks up next to a tree to the creepy lair of Zen-like inventor Wallace (Jared Leto). The director never mentioned why to Deakins, but, given the presence of so much artifice and planetary destruction, it’s safe to assume that yellow represented nature and love. In this case, he suggested playing with yellow. This was achieved with the aid of LED screen projection and digital manipulation of footage shot of the actress.įor the first time, Villeneuve wanted to use color as a visual journey. And then when shooting a scene on a rooftop between K and his companion, Joi (Ana De Armas), Deakins added misters onstage to create a real fog.Ī more colorful atmospheric effect was achieved later on when K gazes at an enormous holographic image of a nude, pink-figured Joi (who’s more than meets the eye). through the perpetual winter of snow and rain. That proved to be his eureka moment for capturing L.A. “The other early model was Beijing smog where you get this completely gray haze, and every now and again you see a point of color coming through,” said Deakins. As a result, cityscapes were generated from aerial footage of Mexico City, Las Vegas, Iceland, the Mojave desert, and Spain. That mean shooting nearly everything in camera (with both the digital Alexa and Alexa mini) on stages in Budapest, and finding real-world geographical reference. But despite the sci-fi trappings, which sometimes veered into surrealism, it was important for the cinematographer to ground the lighting in reality. John Williams’ Legendary ‘Raiders of the Lost Ark’ Score Taught ‘Up’ Composer Michael Giacchino the Craftįor Deakins, “Blade Runner 2049” offered the most diverse set of environments to play with. ![]()
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