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Whedonesque - a community weblog about Joss Whedon
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June 05 2013

'Much Ado About Nothing' and Why the Future of Monochrome Cinematography Isn't Black & White. examines the art of black and white film in an age "where it's even less prominent than it was in the days of the rebellious French New Wave.". Much Ado's cinematographer Jay Hunter describes using the RED EPIC camera and shooting black and white digitally:

"I was shooting a lot of scenes in the movie in very low light conditions. Particularly the night interiors and exteriors. To the eye they looked too dark. Then we'd turn the camera on, set the camera, and it would pop like crazy. It's cool for the actors because it puts them at ease, like they're in a real environment."

Elsewhere in the article Hunter mentions Godard's "Breathless" as a talking point for Much Ado, 'a free-flowing, softer touch to a style known for its stark qualities'.

This is a really interesting article. I cannot claim to understand all the technical information given, but I used to do a lot of B&W photography, and I've always found B&W imagery to be very beautiful. I still love to go to B&W films, it brings a mystery and depth that color can't.
Speaking as someone who has been working in the pro-photo business since my teenage years and who is a proud member of the Everything Looks Better in Black and White school of photography, I highly approve of this article.

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