![]() ![]() The street sign in the foreground has no haze (and, as an additional bonus, contains little color), making it a basic reference for black, white, and gray levels. ![]() In this case, each plane of depth has pretty good reference to gauge how much atmospheric haze is in play. With the right amount of haze for the weather conditions, even a shot highly compressed with a very long lens will be something the viewer simply believes.įigure 3 The difference between a toy model airplane flying close, a real airplane flying nearby, and the same plane in the distant sky is conveyed with the use of scale, but, just as importantly, with levels that show the influence of atmospheric haze. Anything far away that appears not only large but crystal clear, however, will simply look wrong. Long (or telephoto) lenses bring background elements more prominently into the frame and a long lens is sometimes employed when a background element is meant to loom large or seem menacing. As a compositor, you use this to your advantage, not only to re-create reality, but to provide dramatic information.Īs an example, consider Figure 2, shot with a long lens. This is a subtle yet omnipresent depth cue: With any particulate matter in the air at all, objects lose contrast further from camera the apparent color can change quite a bit, and detail is softened. Look at photos of the moon landscape, and you'll see that the blacks in the distance look just as dark as those in the foreground.Įssentially, particulate matter in the air lowers the apparent contrast of visible objects secondarily, objects take on the color of the atmosphere around them and become slightly diffuse ( see Figure 2). Particulate matter doesn't occur in outer space, save perhaps when the occasional cloud of interstellar dust drifts through the shot. The color of the particulate matter offers clues to how much pollution is present, what it is, even how it feels: dust, smog, dark smoke from a fire, and so on ( see Figure 1).
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