Digital Photo Pro - USA (2020-02)

(Antfer) #1
Besides Academy Award winners,
many other smaller and lower-profile
projects have been produced in black
and white over the past few years. So,
the answer to the question “Is black
and white still artistically relevant
for film, television and online con-
tent?” is “yes.” However, that’s with
some qualifications.

Still, how can you tell if you should
tell your story in black and white?
Ask yourself these questions: Who
is your audience? What’s the sub-
ject matter? Also, look carefully at
your script and story—does black
and white improve the story, style or

genre of the film? Does it help tell a
better story?
If it does, then go for it. But if you
aren’t sure, discuss it with your team
or your distribution apparatus, client
or even your audience, if that audi-
ence is online.
Another key point that you’ll want
to remember is this: Film, television,

digital cinema and digital media
creation is a collaborative process. It
means that it’s best to at least involve
the portions of your team that will
be directly affected by shooting in or
at least finishing in black and white
(more on shooting versus posting in

black and white later in the article!).

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As you can see below, choosing to cre-
ate a monochrome film affects many
roles. That’s why you should really
think of black and white as a direct-
ing, producing and even writing deci-
sion as well.
But once the writers, produc-
ers and director are all on board
with shooting or ending up with a
black-and-white project, how does
this decision affect the crew? Con-
sider the following roles and how
they’re affected:

Gaffer: The gaffer-team function is
tied to the cinematographer, and their
job is to deploy the lighting that the
cinematographer needs to realize the
director’s vision.
So, when lighting for black and
white, which means once you take
color out of the equation, you're telling

An abandoned trailer in the desert
becomes much lonelier in black and white.


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46 | Digital Photo Pro digitalphotopro.com
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