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avesisland.info: Adventurer: The Curse of the Midas Box, The: Michael Sheen, Sam As the credits start at the end, KEEP WATCHING or you will miss something. The Adventurer: The Curse of the Midas Box By Michael Sheen, Sam frustrating that a few of the relationships aren't more clearly expressed at the outset. The OA Season 2 Release Date, Trailer, Cast News, and More. LoveReading View on Mariah Mundi: The Midas Box Wormwood, Tersias, The Curse of Salamander Street and The Tizzle Sisters. of a dark wood, an arrow's flight from the Prince Regent Hotel near the 'town at the end of the line'. Reference Books · Religion / Bible Stories · Romance / Relationship Stories · School.
It looks horrible, and the framing has no justification. Some of you might point out, though, that these shots could just as easily have a portion of the hotel framed up for context to show us where our characters might be walking around on the inside. But since neither this nor the previous shot do this, it can be assumed then that these shots are meant to simply remind us where we are, and that some time has passed.
All it really needs is for that bloody stone wall to get out of the way, for the shot to once again move up about 5 meters, and then maybe back about a mile so we can see the entire hotel. Its dark, its brooding, and its feels empty and haunted. It sets up a good atmosphere for the scene to come.
The Adventurer: The Curse of the Midas Box (2013) | The 2010s Suck
Its perfectly framed up at center, and we can see the entire building. What a novel concept. No ship masts taking up the same amount of screen space. No irritating wall or rocks in the way. And just in case you want an example of something a little more complex, then look no further than this shot from Sherlock Holmes. Now this shot has some relation to our next shot and its issues, but let me just quickly run down for you why this one works. The characters and action occurs on the bottom and slightly right side of frame.
The right side of frame has less sunlight and less atmospheric fog, allowing it to be more clear and visible. The left side of frame has a large bush which obscures objects on that side, drawing our eye towards the objects and figures on the opposite end.
And thankfully, the characters and objects we are meant to see are all in black or dark garb, whereas everything else is either bright earthy green, or a stone gray, allowing for some contrast. Oh, and perhaps the most important of all, the buildings are all in frame, in their entirety, no lopped off roof-tops here.
A few things to note: This shot is placed in the middle of one of their exposition conversations. So since our eyes were locked onto center in the last shot, why is there now an old couple walking around at the center of this shot? I could barely even tell Mariah and Charity were even in this shot until the very tail end. Lastly on the subject of framing, let me show you what I picked out to be the worst looking shot in the entire film.
Now the failure of this shot, again, is not immediately apparent. An obvious effort to draw our eye there, for sure, but not good enough. Well then why is this moment done all in one continuous shot? It simply means that you have to frame up the kids to be more prominent in the composition, but then change the lighting to enhance the men in black, or vice-verse.
As it stands, the kids are almost like garbage on the street muddy, multi-colored, and tossed on the floor almost out of frameallowing the audience to seemingly pay no mind to them as the men in black go about their business. No matter where we are, or what time of day it is, every single location is lit primarily by one big white lamp tinted slightly in post, of course. And it looks terrible. Their faces are almost obscured on one half because of the lighting choices being made, which makes it very hard, and even straining to the eyes to even try to watch an entire conversation without needing to take a break.
The camera Kubrick used was also one-of-a-kind. Lighting ratio is also important particularly for mood and genre. But when it comes to a film like The Adventurer, even films trying to be darker and grimmer manage to be more visually inviting.
Take notice of these very similar alternative shots from Sleepy Hollow and Sherlock Holmes. Notice how the two shots on the left are very similar to shots in The Adventurer, and that the four shots on the right are slightly different.
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Something to keep in mind about this is that opposed to The Adventurer, only one scene in both of these films have lighting like the type on the left, whereas the rest of each film is much brighter and more evenly lit by comparison. This is why it is important to light your films based on the emotion and the mood of each scene. Another thing to notice is that The Adventurer has a very orange, or even yellowish and urine green cast to the entire film, which again, makes watching it very hard on the eye.
Only a few scenes actually mirror the shots above, where the lighting is more white and more even than it is dark and orange. But I understand why they may have gone in the orange direction, as they probably wanted to do what I initially suspected, which is to aim for a more colorful film rather than a bleak and pale one. The shots featured here all have an orange cast to them, and yet the only one that fails to impress or bring me in is the one from The Adventurer: If you want a shot to look good, you have to find a level of light that you want to start with depending on how bright the scene is meant to beand then you have to even things out just enough to allow the image to look balanced, keep your actors visible, and to have a center of focus.
The shot of Nicholas Cage on the bottom left is brighter, but its also evened out by allowing for the fill light beneath him to give his entire face enough light to be seen, and his face is highlighted in frame because of the hot spot on his forehead. But then we have Keira Knightley on the bottom right.
- The Adventurer: The Curse of the Midas Box
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He is unnecessarily and irritating too dark here, and his face is left uneven for no apparent reason, making his first real introduction in the film very unimpressive and uninteresting. I get no chance to connect to his character, and no chance to really understand him because I can barely even make him out. And trust me, almost every single shot in the film is just as dark, if not darker.
And it proves to be much more of a subconscious negative reaction than it is a problem with the characterization or the performances. Look again at the shot just below. I mean, what is going on here? We have a shot built on yellow and blue: But our actors are extremely dark within the frame. The candle-light is not being enhanced by the stage lights to allow a separation between the characters and their background.
The moonlight behind them is far too dim when it should also be enhanced. And the color grading for this shot is altogether ugly. A bit too much green in the tinting is my guess. But look at these very similar shots from Pirates of the Caribbean, National Treasure, and Hellboy 2. Now look at that.
Look at how much of a difference that makes. This image is nearly 3 times brighter than the original. The characters faces are more prominent now, and the colors are a lot less dull and urine stained.
It is altogether a much more pleasing image, even if my Photoshop work on it was not perfect, nor necessarily clean. The director and cinematographer clearly had a goal in mind, and they went for it.
And in this case, their ultimate approach failed in what it was obviously trying to accomplish, so I feel that the only way to make this film better than it currently is is to somehow go back to the original raw footage, and not only re-edit it, but revamp the entire color grade. It could prove to be an unbelievable improvement. Just look at these alternatives that would have been just as good if not better.
Brighter levels, more even lighting on the characters and faces, less black in the image, and a stronger sense of whimsy.
The Curse of the Midas Box misses: Oliver Stark and Hannah Gottesman — image source Both in the past and present, Oliver Stark has never been married, at least according to the details he has shared with the public so far. However, he does have a girlfriend in the person of Guardians of the Galaxy Vol.
The Adventurer: The Curse of the Midas Box - Wikipedia
Aside from Hannah, no other woman has been linked to the actor, even from the past. As far as he has let us in on his private affairs, it is evident that Oliver Stark is not gay.
This is despite the fact that he has not exactly been open about his past love life before fame and Hannah came along. However, until he says otherwise, it will be safe to say he is straight since he has only been linked to a woman. His relationship with Hannah Gottesman makes us green with envy seeing the way they gush over themselves on social media.
They both send sweet Valentine messages to each other on Instagram to the delight of fans. Height Oliver Stark is among the tall actors on our records. The British actor stands at an enviable height of 6feet 2inches and his listed weight is 74 kg. He also has light blond hair and sports outstanding body measurements of inches to compliment his great height and physique.