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This persists in modern films, even in scenes actually shot at night, for a simple reason: only specialized cameras can shoot worth a damn in the dark. Despite what some people tend to think, one cannot simply "turn up the sensitivity" on film or digital cameras, as film will result in incredibly distracting, obscuring film grain, and digital sensors will have blotchy, color-fringed visual noise. The easiest solution is to simply use a lot of stage lights to bring the scene to a reasonable level of brightness and underexpose from there; blue is used since that's the tinge of a moonlit night[[note]][[RuleOfPerception to our eyes, at least]]; spectrometer analysis indicates that moonlight is actually ''warmer''-tinted than sunlight[[/note]], and therefore feels the most "natural".
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This persists in modern films, even in scenes actually shot at night, for a simple reason: the cameras. To get good images, cameras need good light exposure; only specialized cameras can shoot worth a damn in the dark.dark, and even then with quality below that of movie-quality. Despite what some people tend to think, one cannot simply "turn up the sensitivity" on film or digital cameras, as film will result in incredibly distracting, obscuring film grain, and digital sensors will have blotchy, color-fringed visual noise.
The easiest solution is to simply use a lot of stage lights to bring the scene to a reasonable level of brightness and underexpose from there; blue is used since that's the tinge of a moonlit night[[note]][[RuleOfPerception to our eyes, at least]]; spectrometer analysis indicates that moonlight is actually''warmer''-tinted ''warmer'' in tint than sunlight[[/note]], and therefore feels the most "natural".
The easiest solution is to simply use a lot of stage lights to bring the scene to a reasonable level of brightness and underexpose from there; blue is used since that's the tinge of a moonlit night[[note]][[RuleOfPerception to our eyes, at least]]; spectrometer analysis indicates that moonlight is actually
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This persists in modern films, even in scenes actually shot at night, for a simple reason: no non-specialized camera can shoot worth a damn in the dark. Despite what some people tend to think, one cannot simply "turn up the sensitivity" on film or digital cameras, as film will result in incredibly distracting, obscuring grain, and digital sensors will have blotchy, color-fringed visual noise. The easiest solution is to simply use a lot of stage lights to bring the scene to a reasonable level of brightness and underexpose from there; blue is used since that's the tinge of a moonlit night[[note]][[RuleOfPerception to our eyes, at least]]; spectrometer analysis indicates that moonlight is actually ''warmer''-tinted than sunlight[[/note]], and therefore feels the most "natural".
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This persists in modern films, even in scenes actually shot at night, for a simple reason: no non-specialized camera only specialized cameras can shoot worth a damn in the dark. Despite what some people tend to think, one cannot simply "turn up the sensitivity" on film or digital cameras, as film will result in incredibly distracting, obscuring film grain, and digital sensors will have blotchy, color-fringed visual noise. The easiest solution is to simply use a lot of stage lights to bring the scene to a reasonable level of brightness and underexpose from there; blue is used since that's the tinge of a moonlit night[[note]][[RuleOfPerception to our eyes, at least]]; spectrometer analysis indicates that moonlight is actually ''warmer''-tinted than sunlight[[/note]], and therefore feels the most "natural".
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This persists in modern films, even in scenes actually shot at night, for a simple reason: no non-specialized camera can shoot worth a damn in the dark. Despite what some people tend to think, one cannot simply "turn up the sensitivity" on film or digital cameras, as film will result in incredibly distracting, obscuring grain, and digital sensors will have blotchy, color-fringed visual noise. The easiest solution is to simply use a lot of stage lights to bring the scene to a reasonable level of brightness and underexpose from there; blue is used since that's the tinge usually resulting from night on a full moon, and therefore feels the most "natural".
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This persists in modern films, even in scenes actually shot at night, for a simple reason: no non-specialized camera can shoot worth a damn in the dark. Despite what some people tend to think, one cannot simply "turn up the sensitivity" on film or digital cameras, as film will result in incredibly distracting, obscuring grain, and digital sensors will have blotchy, color-fringed visual noise. The easiest solution is to simply use a lot of stage lights to bring the scene to a reasonable level of brightness and underexpose from there; blue is used since that's the tinge usually resulting from night on of a full moon, moonlit night[[note]][[RuleOfPerception to our eyes, at least]]; spectrometer analysis indicates that moonlight is actually ''warmer''-tinted than sunlight[[/note]], and therefore feels the most "natural".
"natural".
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'''Why Hollywood Darkness Persists in Film'''
This persists in modern films, even in scenes actually shot at night, for a simple reason: Cinema cameras can't shoot in the dark worth a damn. Despite what some people tend to think, one cannot simply "turn up the sensitivity" on film or digital cameras, as film will result in incredibly distracting, obscuring grain and digital sensors will have even worse blotchy, color-fringed visual noise. The easiest solution is to simply use a lot of stage lights to bring the scene to a reasonable level of brightness and underexpose from there; blue is used since that's the tinge usually resulting from night on a full moon, and therefore feels the most "natural."
This persists in modern films, even in scenes actually shot at night, for a simple reason: Cinema cameras can't shoot in the dark worth a damn. Despite what some people tend to think, one cannot simply "turn up the sensitivity" on film or digital cameras, as film will result in incredibly distracting, obscuring grain and digital sensors will have even worse blotchy, color-fringed visual noise. The easiest solution is to simply use a lot of stage lights to bring the scene to a reasonable level of brightness and underexpose from there; blue is used since that's the tinge usually resulting from night on a full moon, and therefore feels the most "natural."
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This persists in modern films, even in scenes actually shot at night, for a simple reason:
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Why Hollywood Darkness Persists in Film
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* This persists in modern films, even in scenes actually shot at night, for a simple reason: Cinema cameras can't shoot in the dark worth a damn. Despite what some people tend to think, one cannot simply "turn up the sensitivity" on film or digital cameras, as film will result in incredibly distracting, obscuring grain and digital sensors will have even worse blotchy, color-fringed visual noise. The easiest solution is to simply use a lot of stage lights to bring the scene to a reasonable level of brightness and underexpose from there; blue is used since that's the tinge usually resulting from night on a full moon, and therefore feels the most "natural."
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This persists in modern films, even in scenes actually shot at night, for a simple reason: Cinema cameras can't shoot in the dark worth a damn. Despite what some people tend to think, one cannot simply "turn up the sensitivity" on film or digital cameras, as film will result in incredibly distracting, obscuring grain and digital sensors will have even worse blotchy, color-fringed visual noise. The easiest solution is to simply use a lot of stage lights to bring the scene to a reasonable level of brightness and underexpose from there; blue is used since that's the tinge usually resulting from night on a full moon, and therefore feels the most "natural."
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* This persists in modern films, even in scenes actually shot at night, for a simple reason: Cinema cameras can't shoot in the dark worth a damn. Despite what some people tend to think, one cannot simply "turn up the sensitivity" on film or digital cameras, as film will result in incredibly distracting, obscuring grain and digital sensors will have even worse blotchy, color-fringed visual noise. The easiest solution is to simply use a lot of stage lights to bring the scene to a reasonable level of brightness and underexpose from there; blue is used since that's the tinge usually resulting from night on a full moon, and therefore feels the most "natural."
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