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Shooting for drama

Author: Jason WheatleyNick TorrensPeter JamesRobby MüllerAustralian Film, Television & Radio School.All authors
Publisher: Los Angeles, CA : First Light Video Pub., 1994.
Series: Kodak cinematography masterclass series.; Master classes in the media arts.
Edition/Format:   VHS video : VHS tape   Visual material : EnglishView all editions and formats
Database:WorldCat
Summary:
Two directors of photography demonstrate their techniques and share their knowledge and philosophy. Both cinematographers work with the same script set in an Australian outback cafe and a comparison of their workshops reveals the differences in the images created by the two men. Müller utilises his impressions of the Australian light that he observed while shooting Till the End of the World. On the other hand,  Read more...
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Details

Genre/Form: Educational films
Material Type: Videorecording
Document Type: Visual material
All Authors / Contributors: Jason Wheatley; Nick Torrens; Peter James; Robby Müller; Australian Film, Television & Radio School.; Kodak Worldwide Student Program.; First Light Video Publishing.
OCLC Number: 32899827
Credits: Series director, Nick Torrens ; photography, Roman Baska ; music, Jan Preston ; editor, Vicki Ambrose ; narrator, Juliet Jordon.
Performer(s): Presenters: Robby Müller and Peter James.
Description: 1 videocassette (55 min.) : sound, color ; 1/2 in.
Details: VHS format.
Series Title: Kodak cinematography masterclass series.; Master classes in the media arts.
Other Titles: Kodak shooting for drama
Responsibility: Australian Film, Television & Radio School ; Kodak Worldwide Student Program ; producer, Jason Wheatley ; written and directed by Nick Torrens.

Abstract:

Two directors of photography demonstrate their techniques and share their knowledge and philosophy. Both cinematographers work with the same script set in an Australian outback cafe and a comparison of their workshops reveals the differences in the images created by the two men. Müller utilises his impressions of the Australian light that he observed while shooting Till the End of the World. On the other hand, Peter James neatly sidesteps the problems caused by the cyclorama and creates a wider view of the windswept dusty cafe.

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Linked Data


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