{"title":"摄影","authors":"G. Rhodes, Robert Singer","doi":"10.3366/edinburgh/9781474460682.003.0005","DOIUrl":null,"url":null,"abstract":"Chapter 4 covers cinematography, specifically Film Stock, Photofilms, the Freeze-Frame, Moving Camera, and Bullet Time/Time Slice. As Sponsor magazine declared in 1955, the “video portion” of the commercials needed to lead, with copywriters following. Gerald Schnitzer often relied on some of the best camera operators of the classical and, later, post-classical Hollywood eras to shoot his TV commercials, initiating a practice in which cinematographers were able to explore and experiment within limitations dictated by advertising clients and television norms.","PeriodicalId":335372,"journal":{"name":"Consuming Images","volume":"49 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"2020-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Cinematography\",\"authors\":\"G. Rhodes, Robert Singer\",\"doi\":\"10.3366/edinburgh/9781474460682.003.0005\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"Chapter 4 covers cinematography, specifically Film Stock, Photofilms, the Freeze-Frame, Moving Camera, and Bullet Time/Time Slice. As Sponsor magazine declared in 1955, the “video portion” of the commercials needed to lead, with copywriters following. Gerald Schnitzer often relied on some of the best camera operators of the classical and, later, post-classical Hollywood eras to shoot his TV commercials, initiating a practice in which cinematographers were able to explore and experiment within limitations dictated by advertising clients and television norms.\",\"PeriodicalId\":335372,\"journal\":{\"name\":\"Consuming Images\",\"volume\":\"49 1\",\"pages\":\"0\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2020-02-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Consuming Images\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.3366/edinburgh/9781474460682.003.0005\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Consuming Images","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.3366/edinburgh/9781474460682.003.0005","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
Chapter 4 covers cinematography, specifically Film Stock, Photofilms, the Freeze-Frame, Moving Camera, and Bullet Time/Time Slice. As Sponsor magazine declared in 1955, the “video portion” of the commercials needed to lead, with copywriters following. Gerald Schnitzer often relied on some of the best camera operators of the classical and, later, post-classical Hollywood eras to shoot his TV commercials, initiating a practice in which cinematographers were able to explore and experiment within limitations dictated by advertising clients and television norms.
京公网安备 11010802042870号
京ICP备2023020795号-1
分享
求助内容：
应助结果提醒方式：
扫码关注我们
