APPROACHES TO LIGHTING

Lighting is more than simply obtaining adequate exposure. It is also ﾉ

Lighting is more than simply obtaining adequate exposure.

It is also ﾉ

Approaches to Lighting [1] A way to direct the viewer’s eye in the frame

[1] A way to direct the viewer’s eye in the frame

Approaches to Lighting [1] ﾉ a way to direct the viewer’s eye in the frame

[1] ﾉ a way to direct the viewer’s eye in the frame

[2] To establish the character

[2] To

establish

the

character

Approaches to Lighting [3] Establish mood

[3] Establish mood

Approaches to Lighting OR The dramatic quality of the image.

OR The dramatic quality of the image.

Approaches to Lighting [4] Establish time of day

[4] Establish time of day

Approaches to Lighting [4] ﾉ e stablish time of day

[4] ﾉ e stablish time of day

Approaches to Lighting [5] Bring out or mute certain colors

[5] Bring out or mute certain colors

Approaches to Lighting [6] Create a feeling of safety or danger

[6] Create a feeling of safety or danger

Approaches to Lighting [7] Emphasize or de-emphasize depth

[7] Emphasize or de-emphasize depth

Approaches to Lighting [8] Layer in planes from front [f.gd.] to rear [bgd] of the frame. In other words, it can help define the space in 3 dimensions.

[8] Layer in planes

from front

[f.gd.]

to rear [bgd]

of the frame.

In other words, it

can help define

the space in 3

dimensions.

Lighting Styles SOURCE LIGHTING Also called REALISTIC or NATURAL LIGHTING

SOURCE LIGHTING

Also called

REALISTIC or

NATURAL LIGHTING

Bound For Glory

Bound

For

Glory

Lighting Styles EXPRESSIONISTIC Also called STYLIZED LIGHTING

EXPRESSIONISTIC

Also called

STYLIZED LIGHTING

Hero

Hero

Realistic Lighting Also Stylized To a Degree

Realistic

Lighting

Also

Stylized

To a

Degree

Lighting Styles Lighting setups must also take into account --the technical limitations of the camera, lens, and recording medium [film/video, etc] --the dramatic needs of the story.

Lighting setups must also take into account

--the technical limitations of the camera, lens, and recording medium [film/video, etc]

--the dramatic needs of the story.

Dramatic Need of the Story Dir/Wtr Billy Wilder on Stanley Kubrick’s Barry Lyndon : “ He worked like 6 months trying to find a way to photograph somebody by candlelight, not artificial light. And nobody really gives a s**t whether it is by candlelight or not. What are the jokes? What is the story?” Conversations with Wilder, by Cameron Crowe, p. 24

Dir/Wtr Billy Wilder on Stanley Kubrick’s Barry Lyndon :

“ He worked like 6 months trying to find a way to photograph somebody by candlelight, not artificial light. And nobody really gives a s**t whether it is by candlelight or not. What are the jokes? What is the story?”

Conversations with Wilder,

by Cameron Crowe, p. 24

3 POINT LIGHTING We’ve covered what is considered “normal,” here are some additional thoughts: THE KEY LIGHT -- Normally told to put it 30 to 45 degrees from the camera to subject axis -- Normally elevated at an angle of 30 to 45 degrees above the camera to subject axis.

We’ve covered what is considered “normal,” here are some additional thoughts:

THE KEY LIGHT

-- Normally told to put it 30 to 45 degrees from the camera to subject axis

-- Normally elevated at an angle of 30 to 45 degrees above the camera to subject axis.

3 POINT LIGHTING-KEY --Often want it FOCUSABLE, which is why we often choose a FRESNEL It adjusts to flood or spot . --Usually creates some shadows, which gives shape to the subject --Since it’s the dominant light, it’s the one we usually get our F-stop (iris) reading from.

--Often want it FOCUSABLE,

which is why we often choose a

FRESNEL

It adjusts to flood or spot .

--Usually creates some shadows, which gives shape to the subject

--Since it’s the dominant light, it’s the one we usually get our F-stop (iris) reading from.

Traditional Lighting Setup

Traditional

Lighting

Setup

3 POINT LIGHTING-KEY LIGHT PLACEMENT- HORIZONTAL PLANE Front, 3/4 front, side, 3/4 rear, Back.

LIGHT PLACEMENT-

HORIZONTAL PLANE

Front,

3/4 front,

side,

3/4 rear,

Back.

3 POINT LIGHTING-KEY Why Choose Front Position ? Why Side ? Typical Interview Position? LIGHT PLACEMENT-VERTICAL PLANE 1 Below [low angle], 2 Camera level, 3. Above [30-60 degrees, norm. 45 degrees] 4. High [typically 60-90 degrees, the latter being called “TOP” lighting]

Why Choose Front Position ?

Why Side ?

Typical Interview Position?

LIGHT PLACEMENT-VERTICAL PLANE

1 Below [low angle],

2 Camera level,

3. Above [30-60 degrees, norm. 45 degrees]

4. High [typically 60-90 degrees, the latter being called “TOP” lighting]

Traditional Key Vertical 45 Degrees

Traditional

Key

Vertical

45

Degrees

Traditional Key Key Away From Camera

Traditional

Key

Key Away

From

Camera

Top Lighting

Top

Lighting

Fight Club

Fight Club

The Cooler Key light vertical position changes over the course of the film

The Cooler

Key light vertical position changes over

the course of the film

3 POINT LIGHTING- FILL The Key Light determines shadow placement. The FILL LIGHT is used to lighten [fill in] those shadows while avoiding the formation of new shadows . Fill lights are almost always soft . Why? For “Slow Fall-off ”

The Key Light determines shadow placement.

The FILL LIGHT is used to lighten [fill in] those shadows while avoiding the formation of new shadows .

Fill lights are almost always soft . Why?

For “Slow Fall-off ”

Fast Fall-Off

Fast

Fall-Off

Slow Fall-Off

Slow

Fall-Off

3 POINT LIGHTING-FILL FILL PLACEMENT Normally told to place opposite key Reality - Fills tend to be placed in one of 4 positions: [1] The most common - frontal position along the camera/subject axis slightly above camera. Why?

FILL PLACEMENT

Normally told to place opposite key

Reality - Fills tend to be placed in one of 4 positions:

[1] The most common - frontal position along the camera/subject axis slightly above camera. Why?

3 POINT LIGHTING-FILL FILL PLACEMENT [2] Same side as key -- from the key side of the camera/subject axis. [3] Opposite key -- fill from the off-key side of the face, taking great care not to create a new set of shadows, particularly on the nose . 2 & 3 allow for more “modeling” effect

FILL PLACEMENT

[2] Same side as key -- from the key side of the camera/subject axis.

[3] Opposite key -- fill from the off-key side of the face, taking great care not to create a new set of shadows, particularly on the nose .

2 & 3 allow for more “modeling” effect

3 POINT LIGHTING-FILL [4] The High Above Fill Position DP Sven Nykvist --Advantages-Disadvantages

[4] The High Above Fill Position

DP Sven Nykvist

--Advantages-Disadvantages

3 POINT LIGHTING-FILL ROVING Key Or Fill

ROVING

Key

Or

Fill

3 POINT LIGHTING-FILL Roving Key/Fill Sometimes placed In the Shot

Roving

Key/Fill

Sometimes

placed

In the

Shot

3 POINT LIGHTING-FILL ﾉ r oving Key/Fill Sometimes placed In the Shot

ﾉ r oving

Key/Fill

Sometimes

placed

In the

Shot

3 POINT LIGHTING-FILL FILL PLACEMENT and MOOD HIGH KEY – BRIGHT MOOD LOW KEY – DARK MOOD --FILLS should never be more intense than the key

FILL PLACEMENT and MOOD

HIGH KEY – BRIGHT MOOD

LOW KEY – DARK MOOD

--FILLS should never be more intense than the key

High Key Meaning High Mood

High Key

Meaning

High

Mood

Low Key Lighting Low Key Meaning Dramatic Mood

Low Key

Meaning

Dramatic

Mood

3 Pt. Ltg - Back Light Helps Outline Helps Separate

Helps Outline

Helps Separate

3 Pt. Ltg - Back Light Helps Outline Helps Separate

Helps Outline

Helps Separate

Back Light Avoid Light Stand In Shot

Avoid

Light

Stand

In Shot

Back Light-Lens Flare

Back Light-Rim Rim Light

Rim

Light

Back Light-Rim Rim Light

Rim

Light

Back Light-Rim Orc with a Rim

Orc with a

Rim

Back Light - Kicker Kicker 3/4, Low angle Opposite The Key

Kicker

3/4, Low angle

Opposite

The

Key

Back - Rim - Kicker

Kicker Object Or Accent light; also sometimes called a Kicker

Object

Or

Accent light;

also

sometimes

called a Kicker

Back Light-Atmosphere Atmospheric Effects *Trick to it? Road To Perdition

Atmospheric Effects

*Trick to it?

Road

To

Perdition

Back Light-Atmosphere-Rain Atmospheric Effects Daredevil

Atmospheric Effects

Daredevil

Back Light-Atmosphere-Rain Atmospheric Effects Batman Begins

Atmospheric Effects

Batman

Begins

Back Light Atmosphere SMOKE

SMOKE

3 POINT LIGHTING-OTHER BACKGROUND LIGHT Background Placement Usually same as KEY Background Exposure High key - same as Key Low Key - @ least 1 stop difference

BACKGROUND LIGHT

Background Placement

Usually same as KEY

Background Exposure

High key - same as Key

Low Key - @ least

1 stop difference

Background Lighting TONAL VARIATIONS

TONAL VARIATIONS

Background Lighting TONAL VARIATIONS

TONAL VARIATIONS

Background Lighting-Composition Lighting For Composition As well As mood

Lighting

For

Composition

As well

As mood

BackgroundLighting-Shadows Natural Shadow Cookie Shadow

Natural Shadow Cookie Shadow

3 POINT LIGHTING-OTHER BACKGROUND LIGHT KEY TO CREATING SHADOW ON B.G. or any background efx – Control SPILL!!!

BACKGROUND LIGHT

KEY TO CREATING SHADOW ON B.G. or any background efx

– Control SPILL!!!

3 POINT LIGHTING-OTHER EYE LIGHT GOOD RULE when lighting actors CHECK THE EYES --for deadness caused by lack of eyelight --for the opposite prob, too many reflections (many lights reflecting in their eyes).

EYE LIGHT

GOOD RULE when lighting actors

CHECK THE EYES

--for deadness caused by lack of eyelight

--for the opposite prob, too many reflections (many lights reflecting in their eyes).

Lighting - Eye Light EYE POPS

EYE POPS

Eye Light Even Hannibal Gets an Eye Light

Even

Hannibal

Gets an

Eye Light

3 POINT LIGHTING-OTHER HAIR LIGHTS - Position [1] from directly overhead [2] from more oblique angles (side) [3] from behind the subject

HAIR LIGHTS - Position

[1] from directly overhead

[2] from more oblique angles (side)

[3] from behind the subject

“ CLASSIC HOLLYWOOD” Marlene Dietrich Hair Light

“ CLASSIC

HOLLYWOOD”

Marlene

Dietrich

Hair

Light

3 POINT LIGHTING-OTHER PRACTICALS -CLOTHES -LIGHT

PRACTICALS

-CLOTHES

-LIGHT

Practicals: -Windows -Floor Lamp -Wall Sconce -Desk Lamp

Practicals:

-Windows

-Floor Lamp

-Wall Sconce

-Desk Lamp

PREPARING TO LIGHT Lighting, like any other part of production, requires advanced planning . What are the Aesthetic Considerations to address?

Lighting, like any other part of production, requires advanced planning .

What are the Aesthetic Considerations to address?

PREPARING TO LIGHT OVERALL LOOK LIGHT QUALITY SUBJECT LIGHTING RATIOS SUBJECT/BACKGROUND RATIOS COLOR EFFECTS FILM/VIDEO STOCK

OVERALL LOOK

LIGHT QUALITY

SUBJECT LIGHTING RATIOS

SUBJECT/BACKGROUND RATIOS

COLOR EFFECTS

FILM/VIDEO STOCK

Aesthetics - Overall Look

Subject-Lighting Ratios Kodak Subject Lighting Ratios for Stock 5246 http://wwwse.kodak.com/country/US/en/motion/products/negative/5246.shtml

Subject-Lighting Ratios

Kodak Subject Lighting Ratios for Stock 5246

http://wwwse.kodak.com/country/US/en/motion/products/negative/5246.shtml

Color Effect-Lab

Color-film stocks Traffic

Film/Video Stock How is a stock rated? How much will you need? “ Shooting Ratio”?

How is a stock rated?

How much will you need?

“ Shooting Ratio”?

PREPARING TO LIGHT LOCATION SHOOTING If not in a studio, careful and systematic LOCATION SCOUTING is imperative Survey each location to determine ﾉ

LOCATION SHOOTING

If not in a studio, careful and systematic LOCATION SCOUTING is imperative

Survey each location to determine ﾉ

PREPARING TO LIGHT How much light it will require How many lights can be mounted [on overhead beams, walls, etc] How many crew members will you need (lights and handle reflectors?) Where will the sun be when you are shooting?

How much light it will require

How many lights can be mounted [on overhead beams, walls, etc]

How many crew members will you need (lights and handle reflectors?)

Where will the sun be when you are shooting?

PREPARING TO LIGHT Survey the location for ELECTRICITY.

Survey the location for ELECTRICITY.

PREPARING TO LIGHT How much power do you need? How much is actually available there? Find the breaker box and map out the power circuits How many wall outlets do you have, and where are they located? How many EXTENSION CABLES [STINGERS] do you need and how long do they need to be?

How much power do you need?

How much is actually available there?

Find the breaker box and map out the power circuits

How many wall outlets do you have, and where are they located?

How many EXTENSION CABLES [STINGERS] do you need and how long do they need to be?

PREPARING TO LIGHT Do you have a contact person? Do you need to hire an Gaffer? Will you need to rent a generator? Will you borrow/buy power from someone nearby? How will you TRANSPORT the GEAR?

Do you have a contact person?

Do you need to hire an Gaffer?

Will you need to rent a generator?

Will you borrow/buy power from someone nearby?

How will you TRANSPORT the GEAR?

PREPARING TO LIGHT DEVELOP A CHECKLIST Major items should include: --Lighting instruments and spare lamps, Mounting equipment, Lighting accessories, “Stingers”, Generator, Safety gear, transportation, weather report, maps and crew contact information to disperse

DEVELOP A CHECKLIST

Major items should include:

--Lighting instruments and spare lamps, Mounting equipment, Lighting accessories, “Stingers”, Generator, Safety gear, transportation, weather report, maps and crew contact information to disperse

SHOOTING OUTDOORS Tend to shoot WITH Sun, meaning the Sun is AT YOUR BACK MAGIC HOUR or GOLDEN TIME

Tend to shoot WITH Sun, meaning the Sun is AT YOUR BACK

MAGIC HOUR or GOLDEN TIME

Contrast Range Image Curve

Image Curve

CONTRAST AND REDUCTION [1] Adding Fill Light [2] Reflectors and Flex Fills [3] Large Scrim or SILK [4] Shoot in the shade [5] Shoot on overcast days

CONTRAST AND REDUCTION

[1] Adding Fill Light

[2] Reflectors and Flex Fills

[3] Large Scrim or SILK

[4] Shoot in the shade

[5] Shoot on overcast days

Reflectors-Flex Fills

Reflectors-Foam Core

Contrast Redux-Silk 4x4 Silk

4x4

Silk

Contrast Redux-Soft Box Rifa Chimera

Rifa Chimera

SHOOTING OUTDOORS CONTRAST AND REDUCTION cont’d [6] Filters on the Camera --ND or Neutral Density --Haze and UV filters --Polarizers --Low contrast or soft contrast filters Filters generally cause some loss in image quality

CONTRAST AND REDUCTION cont’d

[6] Filters on the Camera

--ND or Neutral Density

--Haze and UV filters

--Polarizers

--Low contrast or soft contrast filters

Filters generally cause some loss in image quality

Neutral Density Filter No filter ND Filter

No filter ND Filter

ND Filter No filter 2 Stop ND Filter

No filter 2 Stop ND Filter

UV-Haze Filter No Filter Tiffen Haze 2

No Filter Tiffen Haze 2

No Filter Polarizer

No Filter Polarizer

Low Contrast Filter NoFilter Contrast

NoFilter Contrast

SHOOTING OUTDOORS MAINTAINING CONTINUITY When the Sun is the primary light source, there is always the potential for lighting –induced CONTINUITY ERRORS. Group similarly lit scenes together in your shooting schedule Avoid shooting different sections of the same scene at different times of the day

MAINTAINING CONTINUITY

When the Sun is the primary light source, there is always the potential for lighting –induced CONTINUITY ERRORS.

Group similarly lit scenes together in your shooting schedule

Avoid shooting different sections of the same scene at different times of the day

NIGHT SHOOTING Night for Night Dusk for Night Day for Night Fight Club Ext.

Night for Night

Dusk for Night

Day for Night

Fight Club Ext.

Day for Night Using Digieffects Software Plug-in

Using Digieffects Software Plug-in