![]() With a few exceptions, the camera seems to float, giving it an ethereal quality matching the show’s mood. The camera’s movement has a specific quality to it. “So, I would say the camera movement is the glue in the show, that glues it together.” ![]() “For camera movements, we really wanted it to have a certain energy that ties the different storylines together,” the Euphoria cinematographer says. To Rév, this quality is perhaps even more important than lighting. The camera in Euphoria is almost constantly moving. Euphoria Cinematography Analysis Euphoria’s camera movement ![]() “It’s a really unflattering image on the day, like a bad sitcom.”įor as much attention as it gets, lighting isn’t the only aspect of the Euphoria cinematography that makes it so distinctive. You create a very flat situation with a lot of light because it’s such a sensitive stock,” said Rév. “Because you end up with such a contrast-y image, lighting-wise you do the opposite of what you would do with digital or another film stock. This meant that how lighting looked on set was vastly different from how it was being received on the camera. Take a look at this party scene and see Rév’s approach in action. “But we try to stick to one defined color, and not be all over the place.” Sometimes, it’s red sometimes, it’s blue,” explains the Euphoria cinematographer. “Of course, you have party scenes and stuff, basic colors. This is where they will often use blues and purples to create visuals that are almost dreamlike.Īgain, however, Rév is sure not to overwhelm the pallet with a kaleidoscopic amount of colors. Of course, some of E uphoria’s most iconic lighting setups can be found in its plentiful party scenes. But the degree to which he leans into this contrast is what goes beyond reality and into emotional realism. The blue is motivated by the moon, the orange by streetlights. Describing the approach to this frame, Rév said, “The idea here was kind of like a moon-ish backlight and then add tungsten units, like street lamps behind the trees.” Tungsten lights naturally emit an orange glow, which complements the cool “moon” light perfectly.Īs we can see from the Euphoria cinematographer’s approach, the lighting is not completely divorced from the physical reality of the situation.
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