Harry Potter ve Melez Prens

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Half-Blood Prince was extensively colour graded and due to cinematographer Bruno Delbonnel's use of de-focussing and soft wipes in the digital grade, Warner Bros. asked him and Yates to change the style and to add more colours to the film. Yates said that he didn't want to lose the "very European look"; after retouching the picture, the final product was presented to the studio and Yates informed the executives of the changes, saying that "It's not what you wanted, but we're happy with it." After five minutes of watching the film the studio were pleased with the changes.[49][50] In an interview with Total Film, Yates said that "the choice of angles, the extreme close-ups,[and] the pacing of the scenes" made the film "incredibly rich".[51] The palette and lighting was heavily inspired by the Dutch painter Rembrandt.[52] Half-Blood Prince is the only film in the series to be nominated for the Best Cinematography accolade at the Academy Awards.[9] One of the major challenges for Delbonnel was lighting the film. In an interview with the Academy, he said, "Some of the sets are there since the very first Potter. How could I light them in a different way? This question brought another one based on the series itself... I thought it would be interesting to have those very intimate stories amidst this very dark mood. As if the school was a dark character. That’s when I suggested to go for this (again) dark moody variations of greys. Fortunately David Yates, and the producers liked the idea." In reference to the cave scene Delbonnel said, "I wanted to have some kind of 'dynamism' with the light. I thought it could be interesting and more dramatic if the light was floating, circling above the characters faces: sometimes lighting them, sometimes hiding them in a very random and unpredictable way."[53]