Brian's "Approaches to Lighting" Lecture

Brian's "Approaches to Lighting" Lecture

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  APPROACHES TO LIGHTING
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  Lighting is morethan simply obtaining adequate exposure. It is also ﾉ
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  Approaches to Lighting[1] A way to direct the viewer’s eye in the frame
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  Approaches to Lighting[1] ﾉ a way to direct the viewer’s eye in the frame
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  [2] To establish the character
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  Approaches to Lighting[3] Establish mood
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  Approaches to LightingOR The dramatic quality of the image.
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  Approaches to Lighting[4] Establish time of day
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  Approaches to Lighting[4] ﾉ e stablish time of day
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  Approaches to Lighting[5] Bring out or mute certain colors
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  Approaches to Lighting[6] Create a feeling of safety or danger
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  Approaches to Lighting[7] Emphasize or de-emphasize depth
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  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.
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  Lighting Styles SOURCELIGHTING Also called REALISTIC or NATURAL LIGHTING
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  Bound For Glory
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  Lighting Styles EXPRESSIONISTIC Also called STYLIZED LIGHTING
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  Hero
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  Realistic Lighting AlsoStylized To a Degree
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  Lighting Styles Lightingsetups must also take into account --the technical limitations of the camera, lens, and recording medium [film/video, etc] --the dramatic needs of the story.
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  Dramatic Need ofthe 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
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  3 POINT LIGHTINGWe’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.
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  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.
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  Traditional Lighting Setup
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  3 POINT LIGHTING-KEYLIGHT PLACEMENT- HORIZONTAL PLANE Front, 3/4 front, side, 3/4 rear, Back.
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  3 POINT LIGHTING-KEYWhy 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]
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  Traditional Key Vertical45 Degrees
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  Traditional Key KeyAway From Camera
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  Top Lighting
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  Fight Club
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  The Cooler Keylight vertical position changes over the course of the film
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  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 ”
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  Fast Fall-Off
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  Slow Fall-Off
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  3 POINT LIGHTING-FILLFILL 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?
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  3 POINT LIGHTING-FILLFILL 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
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  3 POINT LIGHTING-FILL[4] The High Above Fill Position DP Sven Nykvist --Advantages-Disadvantages
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  3 POINT LIGHTING-FILLROVING Key Or Fill
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  3 POINT LIGHTING-FILLRoving Key/Fill Sometimes placed In the Shot
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  3 POINT LIGHTING-FILLﾉ r oving Key/Fill Sometimes placed In the Shot
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  3 POINT LIGHTING-FILLFILL PLACEMENT and MOOD HIGH KEY – BRIGHT MOOD LOW KEY – DARK MOOD --FILLS should never be more intense than the key
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  High Key MeaningHigh Mood
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  Low Key LightingLow Key Meaning Dramatic Mood
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  3 Pt. Ltg- Back Light Helps Outline Helps Separate
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  3 Pt. Ltg- Back Light Helps Outline Helps Separate
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  Back Light AvoidLight Stand In Shot
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  Back Light-Lens Flare
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  Back Light-Rim RimLight
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  Back Light-Rim RimLight
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  Back Light-Rim Orcwith a Rim
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  Back Light - Kicker Kicker 3/4, Low angle Opposite The Key
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  Back - Rim- Kicker
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  Kicker Object Or Accent light; also sometimes called a Kicker
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  Back Light-Atmosphere AtmosphericEffects *Trick to it? Road To Perdition
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  Back Light-Atmosphere-Rain AtmosphericEffects Daredevil
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  Back Light-Atmosphere-Rain AtmosphericEffects Batman Begins
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  Back Light AtmosphereSMOKE
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  3 POINT LIGHTING-OTHERBACKGROUND LIGHT Background Placement Usually same as KEY Background Exposure High key - same as Key Low Key - @ least 1 stop difference
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  Background Lighting TONALVARIATIONS
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  Background Lighting TONALVARIATIONS
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  Background Lighting-Composition LightingFor Composition As well As mood
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  BackgroundLighting-Shadows Natural ShadowCookie Shadow
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  3 POINT LIGHTING-OTHERBACKGROUND LIGHT KEY TO CREATING SHADOW ON B.G. or any background efx – Control SPILL!!!
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  3 POINT LIGHTING-OTHEREYE 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).
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  Lighting - EyeLight EYE POPS
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  Eye Light EvenHannibal Gets an Eye Light
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  3 POINT LIGHTING-OTHERHAIR LIGHTS - Position [1] from directly overhead [2] from more oblique angles (side) [3] from behind the subject
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  “ CLASSIC HOLLYWOOD”Marlene Dietrich Hair Light
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  3 POINT LIGHTING-OTHERPRACTICALS -CLOTHES -LIGHT
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  Practicals: -Windows -FloorLamp -Wall Sconce -Desk Lamp
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  PREPARING TO LIGHTLighting, like any other part of production, requires advanced planning . What are the Aesthetic Considerations to address?
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  PREPARING TO LIGHTOVERALL LOOK LIGHT QUALITY SUBJECT LIGHTING RATIOS SUBJECT/BACKGROUND RATIOS COLOR EFFECTS FILM/VIDEO STOCK
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  Aesthetics - OverallLook
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  Subject-Lighting Ratios KodakSubject Lighting Ratios for Stock 5246 http://wwwse.kodak.com/country/US/en/motion/products/negative/5246.shtml
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  Color Effect-Lab
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  Color-film stocks Traffic
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  Film/Video Stock Howis a stock rated? How much will you need? “ Shooting Ratio”?
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  PREPARING TO LIGHTLOCATION SHOOTING If not in a studio, careful and systematic LOCATION SCOUTING is imperative Survey each location to determine ﾉ
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  PREPARING TO LIGHTHow 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?
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  PREPARING TO LIGHTSurvey the location for ELECTRICITY.
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  PREPARING TO LIGHTHow 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?
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  PREPARING TO LIGHTDo 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?
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  PREPARING TO LIGHTDEVELOP 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
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  SHOOTING OUTDOORS Tendto shoot WITH Sun, meaning the Sun is AT YOUR BACK MAGIC HOUR or GOLDEN TIME
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  Contrast Range Image Curve
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  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
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  Reflectors-Flex Fills
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  Reflectors-Foam Core
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  Contrast Redux-Silk 4x4Silk
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  Contrast Redux-Soft BoxRifa Chimera
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  SHOOTING OUTDOORS CONTRASTAND 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
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  Neutral Density FilterNo filter ND Filter
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  ND Filter Nofilter 2 Stop ND Filter
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  UV-Haze Filter NoFilter Tiffen Haze 2
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  No Filter Polarizer
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  Low Contrast FilterNoFilter Contrast
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  SHOOTING OUTDOORS MAINTAININGCONTINUITY 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
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  NIGHT SHOOTING Nightfor Night Dusk for Night Day for Night Fight Club Ext.
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  Day for NightUsing Digieffects Software Plug-in