Source In terms of lighting design and enforcing the fantasy versus reality, I think this Broadway show of Big Fish is a way better interpretation than Tim Burton’s film. Because both the real world and the fantasy world exists on stage at the same time, you can actually tell the big difference in how they […]
Source Considering this is a Tim Burton movie, it’s pretty toned down. And I guess I’m back to talking about lighting between fantasy versus reality. Big Fish was one of my favorite movies growing up, and while the narrative helped carry the story and help the audience understand that we’re jumping into this fantasy tale, the lighting […]
I unfortunately don’t have screenshots of this, but Ochiai’s Kansen used a really subtle way to help indicate the delirium as the infection spread in the hospital. And it was the use of the exit sign. In America, our exit sign is the word light in red but in other countries, it’s the little man running […]
I think the most common thing that gets drilled into our heads in DPA is subsurface scattering. It’s something everyone knows about – probably because they aimed a flashlight directly against their hands growing up, but no one really realizes how a lot of the materials we see have it. Fruits being the primary example. […]
Source And now see how much more majestic both Jaeger and Kaiju look in the dark. They designed the Kaiju to be practically their own light source, and give a hint about how massive their body is by adding a glow to the veins and orifices of the monster. Then the Jaegers, lights on the […]
Source A lot of people felt that Pacific Rim used shortcuts by having most of the fights at night/dark areas. But honestly, I feel as if that’s not it at all, and that having them in the dark was a wise decision. In well lit scenes (or daytime, in this case), like above, you see […]
