The Art of the Storyboard: A Filmmaker’s Introduction by John Hart

Author:John Hart [Hart, John]
Language: por
Format: epub, pdf
Tags: Animação, Storyboard, Design
Published: 2010-06-29T16:51:24.886000+00:00

Design, Composition and Color 103

Black and White

Filming in black and white is making a come back. It was used to great effect in Steven Spielberg’s Schindler’s List (1993) and more recently in Good Night and Good Luck (2005) and Sin City (2005) though the fi lm was actually released on color stock, giving it a richer chiaroscuro effect. This popular fi lm style, derived from the legendary detective movies like The Maltese Falcon, has been tagged fi lm noir, which I translate as “Shoot it inexpensively at night, in and out of the black shadows.”

FILM NOIR: French term for dark

The common theory behind fi lm noir is that expensive sets and lighting equipment cinema. Popular black-and-white were scarce during World War II. The fi lms were shot in low light, making audiences fi lms mainly from the 40s and less likely to notice the lack of elaborate sets and the wartime cutback on the use 50s. Used chiaroscuro high of electricity. We can see the infl uence of the fi lm noir genre in Jean-Luc Godard’s contrast light and shade. Breathless (1960) and in the searing drama The 400 Blows (1959), Figure 6-15, by the stimulating Francois Truffaut.

Truffaut also gave us Day for Night (1973), his Oscar winning “how to make a movie” script conceit. Day for Night could have had just as much dramatic impact Figure 6-15 In this Hart sketch from fi lm noir classic The 400 Blows, note the fi gure done in ovals and framed off-center.

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