Filmmaking Stuff - How To Make, Market and Sell Your Movie
In the early days of filmmaking, characters were shot against a white background, and then animations were drawn and superimposed onto the footage to make a composite. Then came the art of matte painting where a scene is shot, the film is partially developed, and a piece of glass is painted with the scene that couldn't have been created realistically in any other way. The rest of the film is exposed to this painting creating a seamless composition. Today, the animations, mattes, and composites are all done digitally, and we're going to explore some of those processes in this section.
Some of the most interesting, and, unfortunately, permanent, visual special effects can be achieved by doing abusive things to your film during development, including exposing your latent images to light, boiling the film, overdeveloping it, or plunging it into icy cold water. Back when film was popular, these techniques found their way into many darkroom workers' repertoire. As you might guess, none of these processes are very forgiving. Developing the film a few seconds too long, exposing it to a bit too much light during processing, raising the temperature of the developer a few degrees too much, or any of a dozen other errors can change the results you get dramatically. After you've tried out the effects that follow, you'll wish you had Photoshop's Undo features available for conventional film processing.
Another kind of retouching, called spotting, is used to touch up the inevitable dust spots and other artifacts that appear in enlargements, particularly those made from small negatives. Any time you make a print larger than 5 x 7 of, say, a 35mm negative, tiny spots that weren't invisible on the original film will loom as huge as Godzilla when blown up ten times or more. It's always a good idea to clean your film before printing it, but there's a cleanliness point of diminishing returns after which a few seconds with a spotting brush or pen can fix things quic kly.
However, because there won't be a whole lot of texture detail on them, and most of the hand will be covered by fingerless gloves, unwrapping and texturing it won't be too hard. We can simply split the arm down its length and divide the hand in half. Sound good Well, if you were a movie producer and needed this character in your film, that wouldn't sound good at all. In fact, digital movie characters nowadays have every point of their UVs carefully mapped and placed across multiple maps, because extreme detail is of utmost importance. But, because nobody will notice the itsy bitsy finger detail in a video game, why bother
Reticulation is another one of those darkroom processes that can either ruin your film or generate some I meant to do that -style images. It results from rapid temperature changes during development. As you probably know, conventional photographic film consists of a silver-rich (and relatively soft) gelatin emulsion coated on a thin, but tough substrate such as polyester. When developing, black-and-white film is moved from a warm developer to a significantly cooler solution, the soft gelatin warps in strange-looking patterns, and the grain in the image increases dramatically. The result is an interesting texture that can be used as a creative tool. Like solarization, reticulation effects are difficult to plan or duplicate. In the darkroom, a slow-working developer is used at, say, 100 degrees instead of the more usual 68 to 75 degrees, and its action is stopped by plunging the film into ice-cold water or acidic stopbath, prior to normal fixing and washing. Done properly, and with a...
In conventional photography, extra grain can be produced in several different ways. You can use a faster, inherently grainier film, or underexpose your film and then use longer processing times to make the grains that were exposed (usually the largest, clumpiest grains) visible. Warm developer solutions or even grainy overlays used to add grain to an image as it is printed are other options.
Let's not get started on filters, just yet. In traditional photography, filters are handy gadgets you place in front of the camera's lens to produce a variety of effects. These can range from multiple images to split-field colorization (that is, blue on top and reddish on the bottom of an image, or vice versa) to glamour-oriented blur filters. Using third-party add-ons like those from Andromeda or Alien Skin, Photoshop can reproduce virtually any optical effect you can get with glass or gelatin filters, plus hundreds more that are impossible outside the digital realm. If you've used filters with your film camera, and perhaps purchased a set of the Cokin series, you'll love what Photoshop can do.
If you have ever wanted the secrets to making your own film, here it is: Indy Film Insider Tips And Basics To Film Making. Have you ever wanted to make your own film? Is there a story you want to tell? You might even think that this is impossible. Studios make films, not the little guy. This is probably what you tell yourself. Do you watch films with more than a casual eye? You probably want to know how they were able to get perfect lighting in your favorite scene, or how to write a professional screenplay.