Скачать с ютуб The Colors of Stanley Kubrick — Color Theory from The Shining to 2001: A Space Odyssey and More в хорошем качестве

The Colors of Stanley Kubrick — Color Theory from The Shining to 2001: A Space Odyssey and More

Mise-en-Scène Elements: How to Use Color in Film ►► http://bit.ly/mes-kubrick 00:00 Kubrick's Color Psychology 01:07 Color in Mise-en-Scene 02:00 RED — The Shining 02:42 ORANGE — Full Metal Jacket 03:25 YELLOW — Eyes Wide Shut 04:19 GREEN — 2001: A Space Odyssey 05:15 BLUE — Full Metal Jacket 06:05 PURPLE — Eyes Wide Shut 06:47 WHITE — A Clockwork Orange 07:38 How to Apply Color Theory 08:31 Next Ep: The Mise-en-Scene of Tim Burton Mise en scene includes a number of different elements but perhaps none have such a direct and powerful impact on the overall effect of a shot than color. Color in film is an essential tool in visual storytelling and if there’s one filmmaker who understands this, it’s Stanley Kubrick. 2001 A Space Odyssey, A Clockwork Orange, and The Shining are all visual feasts with color becoming the main course. In this video essay, we’ll traverse Stanley Kubrick’s color palette across the color wheel. Once you see how much attention Kubrick gives to the colors in his mise en scene, you’ll see that the role it plays cannot be understated. Think of the overwhelming green in Full Metal Jacket, or the yellow Christmas lights in Eyes Wide Shut, or even the pronounced reds in Barry Lyndon. It becomes clear that each film’s color palette plays a huge role in the overall mise en scene. In visual storytelling and mise en scene, we can find color in four distinct areas: sets & locations, props, costume/hair/makeup, and lighting. In Stanley Kubrick movies, we can find the entire color wheel represented in each of those elements of mise en scene. As you approach color theory and color psychology in your own work, remember the lessons of filmmakers like Stanley Kubrick. There’s a reason we’re still obsessing over Stanley Kubrick movies decades later — his control of mise en scene, especially color palettes, is without equal. #FilmTheory #VideoEssay #Filmmaking — Songs used: "Amber" - Makeup and Vanity Set “White Wall” - Snowman “Second Waltz” (Theme from Eyes Wide Shut) - Dmitri Shostakovich Red Section: “Masked Ball” - Jocelyn Pook Orange Section: Seals & Crofts - "Sweet Green" Yellow Section: Bat for Lashes - “What’s A Girl To Do” Green Section: “Mandy Love Theme” - Jóhann Jóhannsson Blue Section: “The Blue Danube Waltz” - Johann Strauss II Purple Section: “Forever Dilating Eye” - Sinoia Caves White Section: “A” - Snowman Outro: “Symphony 9, Op. 125” - Beethoven Music by Artlist ► https://utm.io/umJx Music by Soundstripe ► http://bit.ly/2IXwomF Music by MusicBed ► http://bit.ly/2Fnz9Zq — SUBSCRIBE to StudioBinder’s YouTube channel! ►► http://bit.ly/2hksYO0 Looking for a project management platform for your filmmaking? StudioBinder is an intuitive project management solution for video creatives; create shooting schedules, breakdowns, production calendars, shot lists, storyboards, call sheets and more. Try StudioBinder for FREE today: https://studiobinder.com/pricing — Join us on Social Media! — Instagram ►►   / studiobinder   Facebook ►►   / studiobinderapp   Twitter ►►   / studiobinder