[Download Film Yellow Dream 3gp Movie
Laurice Whack
The technical aspects of the film keep the divide between Kansas and Oz very clear. Colour is a key aspect in the film; Kansas which is shot in a sepia tone to emphasise the dull lifeless landscape and to let the audience truly see why it is that Dorothy wants to get out so badly. Then when we see Oz, this bright vibrant world that is shot in technicolour which was still uncommon at the time, the audience gain the same impact that Dorothy does as she opens the door into this new world. Primary colours are used to create the world of Oz to give this hyper real effect and to truly convey that Oz is a world of fantasy, and is a world completely different from that of Kansas. Also the music is an extremely important characteristic of the film because not only does it link characters to moments in the narrative and act as a warning for dramatic events it also acts as an emotional release for the audience and allows us to pause and enjoy the aesthetics of Oz and appreciate how wonderful it is.
Looking at this quote it could be argued that maybe Oz is the home that Dorothy has made for herself, this is how she wants her life to be; full of excitement, colour and music, and this is understandable because if given the choice this is how many people would want to live. The fact that it was all a dream justifies this point even further as Dorothy has created this world, it has come from inside her, and it is the home she longs for.
As you can tell by its name, this Yellow Dream preset adds a yellow film tint to images. This blends beautifully with its soft but accented tones. Its adjustments can make any photo look vintage, without stripping its original colors away.
Because of its unique tonal accents, this analog film preset also looks cinematic. Yellow Dream combines the movie aesthetic that we love with the vintage hues of old films. It is a versatile look that can be applied to all types of photography, from portraits to landscapes. If you want to make the most of its pastel warm tones, use this preset on photos shot under diffused natural light. This will give your shots a golden glow.
Warm Film. Yellow Dream creates its signature film look by blending several accent tones. It applies a tinge of violet-magenta hues in highlights and shadows. It then tweaks the effect further by applying a custom blue channel setting in the tone curve.
Soft Matte. As a film emulation, the preset noticeably has a matte effect. It primarily produces this look by softening whites and highlights. It even refines the look in the tone curve as well. In the example above, try to compare the brightness of the light regions. They now look dimmed. Even if the effect is significant, notice how it can still retain a lot of details.
Dark Grays. The preset lightly decreases the dark regions to complement the softening adjustments mentioned above. It makes sure that there are no harsh blacks or shadows; you would get more dark complex grays instead.
Vintage Tint. The preset amplifies the saturation of colors that would more likely get muted by its old film style. It reinforces orange, yellow, aqua, and blue hues. In contrast, it reduces the saturation of those that are likely to stick out, which are red, green, and purple. All in all, these fine settings make sure that all colors mix well and replicate the look of a film tint.
Green Accents. Yellow Dream adds more brilliance to yellow and purple. These, after all, comprise its color motif. Then, as an accent, it darkens green hues. This, combined with the desaturation above, makes greenery appear dark and deep.
You can absolutely use the Yellow Dream preset as is, right out of the box. With any preset, you might need to make adjustments to accommodate your specific camera, settings, lighting and subject matter. If you want more retro film presets, view our entire collection here.
Alex Honnold is a professional adventure rock climber whose audacious free solo ascents of America's biggest cliffs have made him one of the most recognized and followed climbers in the world. A gifted but hard-working athlete, he is known as much for his humble, self-effacing attitude as he is for the dizzyingly tall cliffs he has climbed without a rope to protect him if he falls. Honnold has been profiled by "60 Minutes" and The New York Times, been featured on the cover of National Geographic, appeared in international television commercials and starred in numerous adventure films, including the Emmy-nominated "Alone on the Wall."
Honnold is the founder of the Honnold Foundation, a nonprofit that promotes solar energy access worldwide. To this day, he maintains his simple "dirtbag-climber" existence, living out of his van, donating a significant portion of his income to the Honnold Foundation, and traveling the world in search of the next great vertical adventure. He is sponsored by The North Face, among others.
Award-winning filmmaker Elizabeth Chai Vasarhelyi is the director and producer of FREE SOLO, from National Geographic Documentary Films. Co-directed with Jimmy Chin, the film offers an intimate, unflinching portrait of rock climber Alex Honnold, as he prepares for and then achieves his lifelong dream: to climb the face of the world's most famous rock ... without a rope.
Vasarhelyi's films as a director include "Meru" (Oscars Shortlist 2016; Sundance Audience Award 2015); "Incorruptible" (Truer Than Fiction Independent Spirit Award 2016); "Youssou N'Dour: I Bring What I Love" (Oscilloscope, 2009), which premiered at the Telluride and Toronto Film Festivals; "A Normal Life" (Tribeca Film Festival, Best Documentary 2003); and "Touba" (SXSW, Special Jury Prize Best Cinematography 2013). Vasarhelyi has directed a New York Times Op Doc, an episode for Netflix's nonfiction design series "Abstract" and two episodes for ESPN's new nonfiction series "Enhanced." She has received grants from the Sundance Institute, the Ford Foundation, the Rockefeller Brothers Fund, Bertha Britdoc, the William and Mary Greve Foundation and the National Endowment of the Arts. She is a member of the DGA as well as AMPAS. She holds a B.A. in comparative literature from Princeton University and lives in New York City.
Jimmy Chin is a professional climber, skier, mountaineer, 18-year member of The North Face Athlete Team and National Geographic Explorer. As the director, producer and cinematographer of the National Geographic Documentary Film FREE SOLO, which he co-directed with Elizabeth Chai Vasarhelyi, Chin captured rock climber Alex Honnold's nail-biting free solo ascent of Yosemite National Park's El Capitan.
Consistently over the past 20 years, he has led or participated in cutting-edge climbing and ski mountaineering expeditions to all seven continents and made the first and only American ski descent from the summit of Mount Everest. Chin is also a filmmaker and National Geographic photographer. He has worked with many of the greatest explorers, adventurers and athletes of our time, documenting their exploits in the most challenging conditions and locations in the world. He has garnered numerous awards shooting on assignment for publications, including The New York Times Magazine, Vanity Fair and Outside Magazine, and has directed commercial work for a wide range of clients, including Apple, Chase, Pirelli and The North Face. His 2015 documentary "Meru," which was also co-directed by Vasarhelyi, won the Audience Award at Sundance and was nominated for best documentary by the DGA and PGA. "Meru" was also shortlisted for an Oscar.
Evan Hayes is the Head of Production & Development at the Emmy award-wining production company ACE Content, where he is also a Partner. Hayes developed and produced FREE SOLO alongside co-directors Elizabeth Chai Vasarhelyi and Jimmy Chin. During the production of FREE SOLO, he served as President of Production at Parkes+MacDonald/Image Nation where he supervised all aspects of production, finance and creative development in both film & television. Hayes also oversaw Parkes+MacDonald's discretionary development fund as well as strategic partnerships with Image Nation Abu Dhabi, Universal Television and Studio Canal, among others. During his tenure at Parkes+MacDonald the company produced and/or financed such films as James Ponsoldt's "The Circle" starring Tom Hanks, Emma Watson, and John Boyega; Davis Guggenheim's "He Named Me Malala" for Fox Searchlight; and "Rings" for Paramount Pictures.
Prior to joining Parkes+MacDonald, Hayes served as President of Production at Story Mining & Supply Co. where he oversaw the Starz original series "Outlander" created by Ron Moore; the upcoming Fox Searchlight film "The Fence," written by Dennis Lehane and George Pelecanos and to be directed by Peter Nicks; and "The Yellow Birds" directed by Alexandre Moors and starring Alden Ehrenreich and Tye Sheridan. Hayes also spent eleven years at Working Title Films, where he first met Chin, as a producer on "Everest."
It was "He Named Me Malala" that caught the eye of directors Elizabeth Chai Vasarhelyi and Jimmy Chin, who reached out to Dill to produce FREE SOLO. A non-climber with a well-known fear of heights, Dill decidedly came quickly on board. She was on the ground from day one overseeing every aspect of production for over two years of often logistically and emotionally challenging filmmaking.
Alex Honnold and Tommy Caldwell organize their climbing gear at the top of the Freerider route on the summit of El Capitan in Yosemite National Park, California. They had just set a new speed record on the climb. (Photo by National Geographic/Jimmy Chin)
I try not to be too dogmatic these days about telling people that there are certain movies they should see only on the big screen. That said, if there is one movie right now that you should see in a theater if you can, it's the transfixing new drama Inside the Yellow Cocoon Shell, from the Vietnamese writer and director Phạm Thin n.
795a8134c1