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我所有关于萨沙·维尔尼的最初记忆可以追溯到半个世纪以前的1948年或1949年的某一天,那天我们相识了。我不记得是因为一个电话,还是在楼梯拐角的一个偶遇,或者在一家酒吧的吧台边开始的。我那时刚拍摄完几部16毫米的柯达彩色胶片电影,是最早的彩色有声片之一,即把三层敏感的色彩重合在一个较厚的载体上(这该是在伊斯门彩色片之前)。因此维尔尼毛遂自荐说:“专业35毫米尺寸的柯达彩色胶片,在几个月之内我们不会有。其实我想跟您说的是,您在彩色电影方面遇到的障碍及满意的收获。”说起来有些夸张,我对彩色电影的认识是经验式的,但有人愿意和我谈论专业领域的技术问题,我还是很得意。我对自己不是一个专业摄影师确实感到有些遗憾。假如我的身体条件允许,我会申请去高等摄影学院学习蒙太奇。但身为一个专业摄影师,他必须能够肩扛35毫米的摄影机、三角架、充电器和电池!总之,我们一见如故。随后的几年我跟另一位摄影大师吉兰·克罗盖(GhislainCloquet)合作拍了几部短片,维尔尼是他的助理。再后来我建议他来拍摄彩色片《苯乙烯之歌》(leChantdustyrene)。同时我要求他在一个场景里饰演唯一的一个男人,是从脸部到腰际的景别。他非常具有上镜头性。
All my first memories of Sasha Werni date back sometime in 1948 or 1949, half a century ago, when we met each other. I do not remember it because of a phone call or an encounter at the corner of a staircase, or at the edge of a pub’s bar. Just then I shot several 16-mm Kodak color film films, one of the earliest color audio films, which consisted of overlaying three layers of sensitive color on a thicker carrier (presumably before the Isman color film ). So Verny volunteered: “In a few months we will not have a professional 35mm KODAK color film, and what I really want to tell you is the obstacles you’ve encountered in color movies and the satisfaction you have gained. ”To put it in some exaggeration, my understanding of color movies is experiential. However, I am still very proud of anyone willing to talk to me about the technical issues in the field of specialization. I do feel regretful that I am not a professional photographer. If my physical condition allows, I will apply to go to higher photography college to study montage. But as a professional photographer, he must be able to carry a 35mm camera, tripod, charger and battery! In short, we see it. In the following years I worked with another photographer, Ghislain Celquet, on a few short films, Werni, as his assistant. Then I suggested that he come to film the color film “leChantdustyrene.” At the same time I asked him to play the only one man in a scene, from the face to the waist of the scene. He is very camera-oriented.