Lewis's downfall, Paul Thomas Anderson's latest film, The Phantom Seamstress, will be released in the United States on the 25th of this month. In addition to writing and directing himself, Anderson also personally went into the battle as a director of photography, through the dialogue of the camera operator around him, so that you can understand in advance the effect of the film.
Source: http://www.indiewire.com/
As a film director, Anderson must know exactly what he wants in terms of lighting, style and presentation, but before that, he needs to go through continuous testing and experimentation to establish the final shooting, and some of his working methods even seem to be contradictory. The Phantom Seamstress went through the process at least nine months before filming, and it took 68 days to shoot.
Don't create the Effect of The Crown
Bowman said: "The film does not look like The Crown, and when people think of the films set in that period, they think that its picture is very beautiful and magnificent, amazing. Because "The Crown" looks beautiful, with gorgeous lighting, the graphics are super clean, but this movie doesn't look like that. ”
According to Bauman, they were trying to find ways to "stain" the picture. Although Anderson initially wanted a delicate picture texture, and even wanted to change the 35mm film to 70mm, he soon realized that graininess could achieve the effect of that historical period, which meant that they needed to try to create a rougher picture texture.
"Because Kodak is trying to become digital, the film quality in the inventory is more delicate at the moment," Bowman said. "How do we get some rough, dirty-looking, like some old film from 15-20 years ago, it's up to you."
As a result, slightly underexposed images can be processed during the process of rinsing to make them more sensitive to increase the detail and texture of the picture. Especially in London, where large lamps could not be used, and in the face of cloudy clouds with only seven hours of daylight, this was a practical solution for photographing that historical period.
Last year, Director and DP shot Radiostar: Daydream and Haim's Valentine, and it looked like he was ready to experiment with how to make Phantom Seamsmith, even if he didn't want to take the title. In Radiostar: Daydreams, Tom York wanders through the rooms, using less light in each shot, an effect That Anderson applies to his unique aesthetic.
Creative lighting
When shooting with a lot of lighting equipment, Anderson had to do whatever it took to combine modern film technology with the latest small and efficient LED technology, which meant more testing as well. They conducted many other tests over an eight-month period, including spending a week working with Panavision at the filming site.
Paul said: "Bowman spent a lot of time with the camera crew to design a lens that was very delicate and rich in quality. Where there are some imperfections, we use some lo-con filters to reduce contrast, which is usually the opposite of what most people think. A lot of people will try to have a full black, and this movie is not like that. ”
Speaking of fill light, Bauman found that his way of working was related to light intuition, making the light illumination sufficient, breaking the contrast, and deliberately creating a flat image for the film effect.
"Anderson shows us reference photos of the sewing process of the 50s," Paul said. "A lot of them are in dirty environments, they are making clothes with indirect fluorescent lamps overhead, and the reality is not beautiful. But if you're trying to make a beautiful movie, you need a lot of bright fluorescent lights.
Smoke shots
Bowman and Paul also found that the texture they wanted required more "smoke" or "dramatic smoke" than usual. This became one of the main questions that made up their background in the 18th century.
"There was a bit of a weird ventilation in that place, so it looked like the smoke was working well when it was set up at the beginning, but the smoke would go away halfway through," Bowman said. "To compensate for some, we deliberately added more smoke, but sometimes it doesn't dissipate, causing the smoke to look very heavy."
"I loved a couple of scenes in the movie, the smoke was so thick that she was on a walk-up show," Bowman added. "If you look at this picture again, it looks like it's on fire, and its texture is very different. Putting these different layers on top of it, we used the quality of the real shot to reduce it, and the director actually accepted it. While Anderson needed to test film and lighting, he needed to know a lot about how to fit those shots into the equation.
"No other director knows the shot as well as Anderson," Paul said. "When he talks about the camera, Anderson, like any DP, has his own ideas, including what he wants from the creation and how he reacts to the film, and he knows it all too well. Moreover, Anderson knows how to shoot The Phantom Seamsmith and how to use some of his favorite lenses, such as the 14mm "Gordon Willis lens" or the old 50mm lens of The French Emily (which was used to shoot the anamorphic widescreen "Blood Is Coming"). ”
"You have to get into Anderson's head so that he knows what shot he chooses, and when you learn to use it yourself, you're going to achieve something completely unexpected." Paul said.
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