Visions of Light

A documentary on the history of cinematography and the lighting necessary to capture performances and moods.

The human eye is much more evolved then any camera, because our pupils can dilate enough to see in most every light, even the most advanced camera of today can't do that. Cameras need certain light to correctly capture, and its a cinematographers job to correctly light a scene along with making each shot move the story and capture a feeling.

In the beginning of motion pictures, capturing sound didn't exist. This gave true carte blanche to directors to capture the motion. These early films gave true freedom in there placement which allowed more documentary like shots.

The arrival of talkies locked up the camera, putting it on massive dollies and soundproof boxes. This hauled the progression of photography's by the immobilization if the camera, although this time of sets allowed for more controlled lighting. At this time the studio system was in full swing, and each had its own unique look, the gloss of Paramount, the sharp edges of Warner Brothers and the glamor of MGM. Actresses on screen performances were heightened by lighting, changing the shape of the faces and making their pale skin pop.

The first color process was two, then three, then the spectrum. This allowed films like Meet Me In Saint Luise and The Wizard Of Oz possible. By now the camera was once again free to move about.

Jaws at the end of the 60s was shot with handy cams, hand held at water level to truly frighten the audience. It and Indiana Jones also changed the rules of censorship, creating the new PG13 for blood and guts!

Several viable clues lent to thinking about what the director of photography was trying to convey. Yellow, first used in the Godfather signifies memories, heavy shadows, used more at the end of the 1960s used to distort feeling and created true chiaroscuro of the characters' hearts.