The first season of 'House of the Dragon' was too dark.

There have been a few episodes of the series that adapt the property that was established by George R. R. Martin that have caused fans a great deal of stress. Is because you are unable to perceive anything. On the other hand, you will need to view them under extremely specific conditions of visual quality, which, sadly, not everyone is able to access. As of right now, that particular event, which has been reoccurring in both the first season of House of the Dragon and in the first season of Game of Thrones up until this point, has reached its second season.

This is the precedent. El tercer episodio de su octava y última temporada, named “Batalla de Invernalia,” was one of the most unsettling surprises that ‘Juego de Tronos’ had to offer. This was in addition to the fact that the show’s conclusion was abrupt and unexpected. Muchos hablaban de ella como “la escena de batalla más cara de la historia de la televisión”, pero esta choque con los Caminantes Blancos de 42 minutos decepcionó a partedel público, que la mayor parte del tiempo estuvo intentando distinguir algo de una pantalla casi completamente an oscuras.

The quejas continued to occur without any interruptions, and Fabian Wagner, the director of photography, made an excuse by stating that he was looking for a naturalistic light that would evolve along with the fictional characters.

And once more. With the seventh episode of the first season of “House of the Dragon,” which was titled “Driftmark” and directed by Miguel Sapochnik—who had already signed the direction of the ill-fated Battle of Winterfell—HBO, far from performing an act of contrition about this mistake, repeated the controversy with the episode. The director claimed that the lighting of the episode was appropriate: “It made sense that this was humanity’s last hope, the last beacon of light and, from the perspective of where we needed to go with the story, which was to reach a surreal and chaotic climax, we needed an environment that matched that.” As an additional point of interest, he stated that “no one sat down to think about whether it would look too dark.”

Reasons for the drama that occurred. The issue that was brought to light at that time has a number of different causes. One of the topics that was covered in an article published by The Verge was the variances in calibration that exist across the various kinds of televisions. The origin of the signal itself is another source of difficulty: in the United States, cable is still a viable option, however in the rest of the globe, there are significant variations in the characteristics of internet connections. There are also specialists in the industry, such as editors and directors of photography, who use monitors that are calibrated with a level of precision that is beyond the capabilities of the typical viewer. These professionals also deal with files that are of a quality that is comparable to that of a UHD Blu-Ray.

The director of photography for “The Long Night” stated that compression was the cause of the viewing issues that occurred during that episode of “Game of Thrones.” Let us not forget this truth.

The past tends to repeat itself. During this year, we come across a series that, once again, engages in the use of gloom and surroundings that are too dark. Last season, HBO defended itself by arguing that these were “intentional creative decisions,” but the reality is that it is becoming increasingly evident that this is not an excuse for the judgments that were made. The magazine Vulture went so far as to claim that “some scenes have so many candles that it is almost comical” in this piece, which discussed the series’ love affair with lighting that was built on candles and other natural light sources. This, without a doubt, makes the action much more difficult to distinguish, but it also makes it quite evident that these are decisions that are made intentionally and creatively.

That is more deliberate. It should come as no surprise that the House of the Dragon presented this year is just as gloomy as the one presented the previous year. In an interview with The Hollywood Reporter, showrunner Ryan Condal made the following suggestion: “We went into season two very conscious of the feedback we’d have received.” It is much more in line with my specific aesthetic and what I believe the show ought to be that the second season has been released. Despite the fact that there is not a significant difference, I do not believe that we will ever be told that “it is too dark.”

Despite the fact that IndieWire suggests that this arrangement might have a tragic consequence: while Season 2 “has taken a giant leap toward looking like everything else on television and lost some of what made it visually distinct.” Season 1 made daring aesthetic decisions that left many fans unhappy, while Season 2 “has taken a giant leap toward looking like everything else on television.”

The first season of ‘House of the Dragon’ was too dark.

By nr39r

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