Detailed description of types of lights and there uses

1. LIGHTINGLIGHTING
INSTRUMENTS
By
Pradeep Kumar Gupta
Deptt of Animation CCSIT, TMU
College of Journalism and Mass Communication
Teerthanker Mahaveer University, Moradabad

2. LIGHTING INTRUMENTSLIGHTING INTRUMENTS
The modern cinema and video industries are heavily dependent on lighting
equipment. From high-caliber studio cinematographers to personal video
enthusiasts, just about everyone uses extra lighting to create harmonious
visual imagery. If you’re looking to light up your next production, or just
interested in learning more abo t hat goes on behind the scenes thisinterested in learning more about what goes on behind the scenes, this
guide to the key light sources used in the business will help illuminate the
way.

3. LIGHTING INTRUMENTSLIGHTING INTRUMENTS
HMIs
Hydrargyrum medium arc iodideHydrargyrum medium-arc iodide
refers to the lamp operating by creating
an electrical arc between two
electrodes within the bulb HMIs are aelectrodes within the bulb. HMIs are a
high-priced light source, manufactured
by the industry giants, but are usually
accessible to videographers throughg p g
rental dealers.
A key feature of this type of light is
that it provides a perfect daylightp p y g
source balanced at 5500 Kelvin,
allowing you to film daytime scenes
around the clock — one strong HMI
source can create the effect of a sunny
day in pitch dark night.

4. LIGHTING INTRUMENTSLIGHTING INTRUMENTS
Tungstens
Tungsten light is pretty much the same as the lightTungsten light is pretty much the same as the light
bulbs we use in our homes — it produces warm,
yellow light. In this case, luminance is generated by
heating the wire with a passing current trappedheating the wire with a passing current trapped
inside a glass or quartz environment filled with inert
gas. The problem with this type of light is its high
consumption of electricity and very high heating. Inp y y g g
almost all cases only, 5% of the energy used is
transferred to visible light, while the rest is wasted on
heating the wire. Tungsten is typically measured
around 3200 Kelvin. This type of incandescent light
was heavily used in the early days of film, but is less
and less popular today. On the other hand, tungsten
li ht i ff d bl d b bl h t li htlight is affordable and probably enough to light a
small scene when the action takes place in an
interior environment.

5. LIGHTING INTRUMENTSLIGHTING INTRUMENTS
Fluorescent
A fluorescent light is a low pressure mercury gasA fluorescent light is a low-pressure mercury gas
discharge lamp that uses fluorescence to produce
visible light by heating up the phosphor coating
inside Fluorescent lamps also produce ultravioletinside. Fluorescent lamps also produce ultraviolet
waves and are about 10 times more economic and
ecologically friendly than tungsten light sources.
Fluorescent sources are about the same temperaturep
on the Kelvin scale as HMIs and often produce light
equivalent to 5400 Kelvin. (They’re also available in
a tungsten balance 3200 Kelvin.) Typically, these
lights are used in major video and film productions
pretty much anywhere cinematographers can’t use
HMI sources, they rely on fluorescent lights. This type
f li hti i t d id tof lighting is very easy to use and provides a great
cinematic lighting solution for challenging scenes
and are the go-to light for interviews.

6. LIGHTING INTRUMENTSLIGHTING INTRUMENTS
LEDs
Light emitting diodes (LEDs) are a two leadLight-emitting diodes (LEDs) are a two-lead
semiconductor light source that has become
very popular in recent years as the technology
has become more affordable These lights arehas become more affordable. These lights are
extremely ergonomic and provide an eco-
friendly alternative to filmmakers who want to
stay mobile and lightweight with their kits.y g g
LEDs have useful features such as
temperature control, battery powering, and
compact design. Filmmakers can get a cool
daylight temperature out of these devices, as
well as cozy yellow tungsten light, just by
controlling the dimmer on most of the devices.
Th l ti l h li ht i ht dThese relatively cheap, lightweight, and
versatile lights are the lights of the present
and the future.

7. LIGHTING INTRUMENTSLIGHTING INTRUMENTS
STROBELIGHTS
Strobe lights use a xenon flash lamp to provide a burst of daylight likeStrobe lights use a xenon flash lamp to provide a burst of daylight-like
flashes, heavily used in photography and commonly referred to as flash light.
These sources are typically mounted on digital or film cameras, and the light
bursts from them are matched to the shutter speed to light the scene whenbursts from them are matched to the shutter speed to light the scene when
shutter opens, so that frame gets exposed to the light. Photographers use
these sources to give extra light “kick” to darker scenes.

8. LIGHTING INTRUMENTSLIGHTING INTRUMENTS
DAYLIGHT
In addition to these lighting solutions natural daylight is also of course anIn addition to these lighting solutions, natural daylight is also of course an
option, but it’s far less under your control, as it leaves you subject to the forces
of nature.

9. FILM LIGHTING TECHNIQUESFILM LIGHTING TECHNIQUES
Cinematography lighting is closely similar to photography lighting. You’ve
probably heard many of these techniques, especially if you’ve done some
di h h i h b i h l l h h i lstudio photography in the past, but it helps to learn how they can uniquely
benefit filmmakers in creating different moods and atmospheres in every
scene.
. It’s also important to
note that these
techniques are not
l t b t h tclear-cut, but what
matters is that you
learn what each is
good for and are ablegood for and are able
to make the best use
of them for achieving
our cinematic goals.our cinematic goals.

10. FILM LIGHTING TECHNIQUES:
KEY LIGHTINGKEY LIGHTING
As the name suggests, this technique is used to “fill in” and remove the
dark, shadowy areas that your key light creates. It is noticeably lessdark, shadowy areas that your key light creates. It is noticeably less
intense and placed in the opposite direction of the key light, so you can
add more dimension to your scene..
. Because the aim of fill lighting. Because the aim of fill lighting
is to eliminate shadows, it’s
advisable to place it a little
further and/or diffuse it withfurther and/or diffuse it with
a reflector (placed around 3/4
opposite to the key light) to
create softer light that spreadsg p
out evenly. Many scenes do well
with just the key and fill studio
lighting as they are enough to
add noticeable depth and
dimension to any object.

11. FILM LIGHTING TECHNIQUES:
BACK LIGHTINGBACK LIGHTING
Backlighting is used to create a three-dimensional scene, which is why it is
also the last to be added in a three-point lighting setup. This also facesalso the last to be added in a three point lighting setup. This also faces
your subject—a little higher from behind so as to separate your subject
from the background.
As with fill lighting, you’ll want
to also diffuse your backlight so
it becomes less intense and
covers a wider area of your
subject. For example, for
subject mid-shots, you’ll want to
also light up the shoulders and
base of the person’s neckbase of the person’s neck
instead of just the top of their
head. This technique can also
be used on its own without thebe used on its own, without the
key and fill lights if you’re
aiming for a silhouette.

12. FILM LIGHTING TECHNIQUES:
SIDE LIGHTINGSIDE LIGHTING
Needless to say, side lighting is for illuminating your scene from the side,
parallel to your subject. It is often used on its own or with just a faint fillparallel to your subject. It is often used on its own or with just a faint fill
light to give your scene a dramatic mood or what’s referred to as
“chiaroscuro” lighting.
To really achieve this effect,
your side light should be strong
so as to create strong contrast
and low-key lighting that
reveals the texture and
accentuates the contours of
your subject.
When used with a fill light it’sWhen used with a fill light, it’s
advisable to lessen the fill
light’s intensity down to 1/8 of
that of the side light to keepthat of the side light to keep
the dramatic look and feel of a
scene.

13. FILM LIGHTING TECHNIQUES:
BOUNCE LIGHTINGBOUNCE LIGHTING
Bounce lighting is about literally bouncing the light from a strong light
source towards your subject or scene using a reflector or any light-coloredsource towards your subject or scene using a reflector or any light colored
surface, such as walls and ceilings.
Doing so creates a bigger area of light that is more evenly spread out.
If executed properly bounce lights can be used to create a much softer keyIf executed properly, bounce lights can be used to create a much softer key,
fill, top, side, or backlighting, especially if you don’t have a diffuser or
softbox

14. FILM LIGHTING TECHNIQUES:
SOFT & HARD LIGHTING
Soft lighting doesn’t refer
to any lighting direction,
Hard light can be sunlight or
a strong light source. It’s
ll d b ibut it’s a technique
nonetheless.
Cinematographers make
usually unwanted, but it
certainly has cinematic
benefits. You can create
hard lighting with directuse of soft lighting (even
when creating directional
lighting with the
techniques above) for
hard lighting with direct
sunlight or a small, powerful
light source.
Despite it creating harshtechniques above) for
both aesthetic and
situational reasons: to
reduce or eliminate harsh
Despite it creating harsh
shadows, hard lighting is
great for drawing attention
to your main subject or to anreduce or eliminate harsh
shadows, create drama,
replicate subtle lighting
coming from outside, or
y j
area of the scene,
highlighting your subject’s
contour, and creating ag ,
all of the above. strong silhouette.

15. FILM LIGHTING TECHNIQUES:
LOW & HIGH KEY LIGHTING
High key refers to a style of lighting used to
create a very bright scene that’s visually
shadowless, often close to overexposure.
Lighting ratios are ignored so all light sources
would have pretty much the same intensity.
This technique is used in many movies, TV
sitcoms, commercials, and music videos today,
but it first became popular during the classic
Hollywood period in the 1930s and 40sHollywood period in the 1930s and 40s.
Being the opposite of high key, low key lighting for a scene
would mean a lot of shadows and possibly just one strong
key light source. The focus is on the use of shadows and
how it creates mystery, suspense, or drama for a scene and
character instead of on the use of lighting, which makes it
g t f h d th ill filgreat for horror and thriller films.

16. FILM LIGHTING TECHNIQUES:
AMBIENT LIGHTING
There’s no reason not to make use of
ambient or available lights that already exist
in your shooting location, may it be sunlight,
moonlight, street lamps, or even electric
store signs.
When shooting during the day, you could
always do it outdoors and make use of
natural sunlight (with or without a diffuser)
and supplement the scene with a secondary
light for your subject (bounced or using a
separate light source). Early in the morning
and late in the afternoon or early eveningand late in the afternoon or early evening
are great times for shooting outdoors if you
want soft lighting. The only downside is that
the intensity and color of sunlight are notthe intensity and color of sunlight are not
constant, so remember to plan for the
weather and sun placement.