Английский язык для студентов-физиков. Кинооператорство. English for physics students. Cinematography. Учебное пособие

to set. Color helps to tell a story, define a character or create a reaction by the audience.

There are three main components of color, they include hue, saturation and brightness. A color wheel is a circular swatch of color hues that shows the relationship between primary, secondary and tertiary colors. The color wheel allows the viewer to discern the different color combinations, complementary, monochromatic, analogous, triadic, and tetradic.

Some film color palettes will stick with one reoccurring color (monochromatic) to offer a primary theme throughout the film, however it is important to create a deeper meaning with each scene, so a diverse set of colors is best. A film’s color must be balanced. This balance can come with the use of different color palettes.

2. Guess which color palette is described in each paragraph: 1. MONOCHROMATIC 2. ANALOGOUS 3. COMPLEMENTARY 4. TRIADIC 5. TETRADIC

A._____________. It is a single base hue with shades, tones and tints. Examples of words that define these color sets include deeply harmonious, undivided and lulling.

B._____________. Opposite colors on the color wheel represent conflict, like purple and yellow, blue and orange, or red and green. These colors offer high contrast in the films representation of characters and themes. Examples of words that define this set include dueling opposition, embattled, and tense.

C._____________. A group of three colors that are next to each other on the color wheel. These color sets are made up of one primary color, a supporting color and a third that is either a mix between the two or an accent color.

D._____________. Four colors that are evenly spaced on the color wheel. These colors are bold with the use of one primary color and three accent colors. The more colors used in the palette, the harder it is to balance that color palette.

E._____________. Three equally spaced out colors on the color wheel. One color is the dominant, and the remaining two are complementary colors. Examples of words that define these color sets include vibrant yet balanced and evenly matched.

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DEVELOPING VOCABULARY

WORKING OUT THE MEANING OF UNKNOWN WORDS

3. The following words in the box are all from the text above. Find them in the text.

4. For each word, read the sentence it occurs in and answer the questions.

a)Is the word positive, negative or neutral?

b)Is it a noun, adjective, adverb or verb?

c)Can you think of a word with a similar meaning (synonym) and one with an opposite meaning (antonym)?

READING COMPREHENSION 5. Answer the following questions

1.Why is color important in films?

2.What are the main components of color?

3.What is a color wheel?

4.How is color balance achieved?

5.How many colors are there in triadic color palette? What are they like?

6.How many colors are there in tetradic color palette? What are they like?

7.What are the examples of words that define monochromatic / analogous / complementary color palette?

ANALYZE

6. Match the words with their Russian equivalents:

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7. Give the English equivalents:

1.В зависимости от эмоции или настроения

2.Показывать отношения

3.Предложить основную тему

4.Сосредоточиться на одном цвете

5.Придать более глубокое значение

6.Баланс может быть достигнут с помощью

7.Предлагать высокий контраст

8.Энергичный, но сбалансированный

8. Match the words above with their definitions

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9. Find matching phrases

TRANSLATE

10. Translate from Russian into English using TEXT 1:

1.Цветовой круг позволяет зрителю различить различные цветовые комбинации.

2.Противоположные цвета в цветовом круге представляют конфликт.

3.Это цвета, полученные путем совмещения первичного и вторичного цвета.

4.Чтобывыдвинутьвперёдглавнуютему, некоторыефильмысосредотачиваются на одном повторяющемся цвете.

5.Цвет помогает рассказать историю, определить характер и вызвать реакцию у зрителя.

11. Translate from English into Russian

1.Color psychology in film and TV is the strategic use of colors to evoke specific emotional and psychological responses from the audience.

2.Filmmakers employ color choices to enhance storytelling, develop characters, and create immersive atmospheres.

3.Whether through the ominous use of shadows, the vibrant hues of a romantic setting, or the monochromatic scheme of a dystopian future, color

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psychology amplifies the emotional resonance of film and TV content, enriching the overall viewing experience.

4.Each color carries its own associations and connotations, influencing the viewer's perception and feelings.

5.The Matrix (1999) uses a distinct color palette, dominated by green hues, to create an otherworldly and futuristic atmosphere. The green tint symbolizes the virtual reality of the Matrix itself, setting it apart from the real world.

6.The use of bright golds and greens in The Great Gatsby (2013) highlights the extravagance of the period, while more somber blues and grays reflect the underlying themes of disillusionment and excess.

7.From the sinister greens that shroud mysteries to the passionate reds that ignite romance, color psychology serves as an invisible hand guiding our perceptions and feelings.

GRAMMAR

THE PASSIVE VOICE

In English, all sentences are in either “active” or “passive” voice: active: Today we achieve compositing through digital image manipula-

tion.

passive: Today compositing is achieved through digital image manipulation.

In an active sentence, the person or thing responsible for the action in the sentence comes first. In a passive sentence, the person or thing acted on comes first, and the actor is added at the end, introduced with the preposition “by.” The passive form of the verb is signaled by a form of “to be”: in the sentence above, “was formulated” is in passive voice while “formulated” is in active.

The passive voice can be used when the actor is unknown or irrelevant, when we are talking about a general truth or when we want to emphasize the person or thing acted on, eg.:

Insulin was first discovered in 1921 by researchers at the University of Toronto.

You are writing in a scientific genre that traditionally relies on passive voice. Passive voice is often preferred in lab reports and scientific research papers, most notably in the Materials and Methods section:

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The sodium hydroxide was dissolved in water. This solution was then titrated with hydrochloric acid.

In these sentences you can count on your reader to know that you are the one who did the dissolving and the titrating. The passive voice places the emphasis on your experiment rather than on you.

How to make the Passive in English

We make the passive by putting the verb 'to be' into whatever tense we need and then adding the Past Participle.

14. Read the following sentences and say which of them are in the Active and which are in the Passive Voice. Translate them into Russian

1.Background projection throws the background image on a screen behind the subjects in the foreground.

2.Sometimes, the background is projected from the front, reflecting off the screen but not the foreground subjects because the screen is made of highly directional, exceptionally reflective material.

3.In rear projection (often called process shooting) background images (called "plates") are photographed first.

4.Digital matting has replaced the traditional approach several two rea-

sons.

5.In rear projection, the projector and camera motors must be synchronized to avoid flicker and perfectly aligned behind and before the screen.

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6.As early as 1900, Georges Méliès used seven-fold exposure in L'hom- me-orchestre/The One-man Band;

7.In the 1921, in The Playhouse, multiple exposures were used.

8.This research was being carried out in difficult conditions.

9.New research in the field of laser physics is being done at our Institute.

10.Both the foreground action and the projected scenery will be recorded by the camera in front of the car, as the performers will pretend to drive.

11.After one component was printed on the duplicate, the film was rewound and the other component was added.

LISTENING COMPREHENSION

15. Watch the video and match the colors with the description

16.Watch the video again. Do you know these films? Describe what you see in each fragment.

17.Guess what colors are described and match them with the descriptions paying attention to the words in bold.

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SUPPLEMENTARY READING

10 movies that define Russian cinema

From Sergei Eisenstein to Andrei Zvyagintsev: The evolution of Russian filmmaking over nearly a century

Dozens of Cossack rebels, led by Stepan (“Stenka”) Razin, celebrate their victory in a military campaign in Persia. Afterward, Razin kills his young and beautiful Persian lover, who was unjustly accused of infidelity. That’s what the audience at Moscow’s Aquarium theater saw 109 years ago at the premiere of Stenka Razin, the first Russian narrative film, produced by Alexander Drankov. Thus began a rich Russian and Soviet filmography, highlights of which include:

Battleship Potemkin (1925)

Sergei Eisenstein, an early genius of Soviet cinema, dramatized the 1905 mutiny of sailors against officers aboard an imperial battleship in Odessa. The movie is considered a classic of world cinema, with lasting influence on generations of directors and cinematographers. The iconic scene of soldiers marching down the Odessa steps, for example, has been reimagined in The Untouchables, directed by Brian De Palma, Naked Gun 33⅓ by Peter Segal, and other movies.

Eisenstein directed other films that also became legendary, including October (Ten Days That Shook the World), Alexander Nevsky and Ivan the Terrible. He is also famous worldwide as the inventor of the “intellectual montage” style of film editing.

Cossacks of the Kuban (1949)

This film, by director-screenwriter (and, later, Mosfilm studio chief) Ivan Pyryev, is a love story about two workers from different collective farms in the Soviet Union’s Kuban region. It was intended to present Soviet life as beautiful and prosperous.

The irony of the production is that its release came four years after the end of World War II when the country was still exhausted and many citizens didn’t have enough to eat. According to their own memoirs, some cast members fainted from hunger pangs on the set when they saw fake produce meant to represent the bounty of the region.

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The Cranes Are Flying (1957)

Directed by Mikhail Kalatozov, this film was an innovation for its time, both in terms of artistry and technological prowess. Cinematographer Sergey Urusevsky introduced techniques such as the use of long camera “phrases” that lasted several minutes without interruption or edits. Urusevsky was also the first to use circular rails for tracking shots, a technique that is now a staple of modern filmmaking. He never patented his invention, however.

This beautiful story of love and friendship ends tragically, due to the onset of World War II, family strife, and personal choices made by the main characters. They are presented as unique, complex individuals, not idealized parts of the Soviet machine, and this portrayal drew broad criticism from the authorities.

The Cranes Are Flying is the only Soviet or Russian film to win the Palme d’Or, the main prize at the Cannes Film Festival.

July Rain (1967)

Considered among the most intellectually powerful films of its time, July Rain by director Marlen Khutsiyev was a breakthrough – a highly original work of art for Soviet cinema during the Khrushchev Thaw and reminiscent of French New Wave cinema.

The film can be seen in the context of the much-loved Soviet genre “auteur song,” popularized by bards and poets of the 1960s including Yuri Vizbor, Bulat Okudzhava and Evgeny Kliachkin. In addition, famed Russian directors Andrei Tarkovsky and Alexander Mitta played minor roles in the film, which spans the summer-to-autumn romance of two people in their 30s who are experiencing a painful revision of their views and beliefs.

Andrei Rublev (1966)

This film captures the national character, artistic and cultural beauty, and tragic history of Russia. It was banned for years by Soviet authorities due to religious and philosophical overtones that didn’t comport with official ideology.

The biopic about 15th-century Russian icon painter Andrei Rublev covers a wide range of topics against the backdrop of medieval Russia, serving as a philosophical saga about the role of the artist in Russian history and culture. Although the director, Andrei Tarkovsky, made only seven feature films in his career, each is considered a masterpiece.

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