000			01477cam a2200217 4500500
005			20250121192134.0
041			_afre
042			_adc
100	1	0	_aHamus-Vallée, Réjane _eauthor
245	0	0	_aMaking the Perfect Cloud
260			_c2017.
500			_a93
520			_aSince the cinematograph was born, reproducing clouds has constantly caused filmmakers’ logistical but also aesthetic concern: how to control this cloud in order to have it participate in the story, and in the aesthetics of the view? How to add clouds absent from the set, how to remove clouds too present, and with what means can a cloud be perfectly adapted to filmmaker’s wish, both in form, texture, and the way it moves? Throughout the history of cinema, different techniques of tricks have been used to monitor clouds in the image more and more strictly. This article focuses in particular on four forms of faked clouds (the composite, painted, liquid, and digital cloud) and the particular special effects that each technique conflates. It analyzes these different ways of creating clouds at will, and their common stake: to have control, at least in the films, of the weather.
690			_amovie
690			_aspecial effects
690			_acinema
690			_acloud
690			_atricks
786	0		_nCommunications | o 101 | 2 | 2017-10-25 | p. 143-157 | 0588-8018
856	4	1	_uhttps://shs.cairn.info/journal-communications-2017-2-page-143?lang=en&redirect-ssocas=7080
999			_c660089 _d660089