Top 4 john wick 3 cam hay nhất, đừng bỏ lỡ

One of the coolest color palette themes in any franchise is this one right here established in the original John Wick. I mean “‘coolest” both figuratively and literally. The idea was that John Wick begins the movie in a desolate world of loss, and as he wakes back up, so do the colors of his existence. This was articulated well in, of all places, the IMDB trivia section:

Initially, the movie is almost a cool blue monotone, reflecting John’s detachment and struggle to cope with his wife’s death. As he crosses back into the violence, colors leak back into his world and become more intense. And then at the very end of the movie when he at least attempts to cross back over into the ordinary world, the colors become more subdued again, but also warmer.

Director of Photography Jonathan Sela shot John Wick in 4K and largely utilized a couple of different cameras, notably the ALEXA XT and the ALEXA M for close-range work. In an interview with ARRI, Sela described the initial vision for the “John Wick look”:

Our main visual idea for the film was to achieve two different looks, one for John Wick’s normal life before the action begins and the other for the underground world he is drawn back into. We wanted the first look to be soft and clean, and the second to be grittier, darker and sharper.

The dichotomy between his retired life and assassin life is separated in one way by the camera movements: at the beginning, shots are static and immobile. When he re-enters the life, the camera is a kinetic moving force like John Wick. Sela spoke to this directly in the ARRI interview by saying that he largely utilized handheld work for the second portion of the film.

A great analysis piece by Bill Friedell for Cinemablography did a scene-by-scene analysis of when John Wick enters the Continental Hotel and how this return to his old life is indicated by color:

It’s the first instance where an entire location is given stark colors. The filmmakers even go to the lengths to spell out this contrast by showing John walking from his hotel room and going down an elevator straight into the hotel bar. The fact that it is a descent is also worth noting. This roots the drastic shift in lighting to the “underworld”. This is where the worldbuilding of John Wick comes into play. Not only do we learn of the rules of the Continental Hotel from the Hotel’s management (Ian McShane), but we also begin to fathom what this world looks like visually. This establishes the palette of the underworld. Stark greens, yellow, and hints of red (foreshadowing the role of a character later on in the narrative).

When you begin to match the use of color with Wick’s revenge romp, it’s not hard to start wondering, “Umm…is this an actual masterpiece?” Frequently in the first film, the cinematography matches John’s descent back into the underworld – Wick encounters undulating fluid reds (in the club) and cool liquid blues (fighting by the pool).

Jonathan Sela worked only on the first John Wick, but with Chad Stahelski and David Leitch, helped establish the importance of color for the rest of the franchise.

Top 4 john wick 3 cam tổng hợp bởi TOPZ Eduvn