LIghting 2: Techniques
LIghting 2: Techniques MC351-01
Popular in Basic Video and Film Production
Popular in Journalism and Mass Communications
This 4 page Class Notes was uploaded by Alyssa Notetaker on Sunday September 13, 2015. The Class Notes belongs to MC351-01 at Southeast Missouri State University taught by Frederick Jones in Summer 2015. Since its upload, it has received 37 views. For similar materials see Basic Video and Film Production in Journalism and Mass Communications at Southeast Missouri State University.
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Date Created: 09/13/15
LIGHTING 2 TECHNIQUES BASIC LIGHTING TIPS 1 Eyesight and video see light differently a Use a monitor to get a better representation of light 2 Reveal what the audience needs to see Create the proper mood for the scene 4 Motivating light source a Primary light source ex window lamp used to determine direction and intensity of light in scene b Source can be real or created for the scene STUDIO LIGHTING 1 Light grid at Bars and electrical outlets are placed on ceiling of studio b Lights are hung on grid 2 Light board or dimmer a Allows control of studio lights b Light intensity color and fading cues can be controlled and programmed THREE POINT LIGHTING 3 Basic setup with three lights placed in a triangular pattern around the subject a Key ll and back lights 4 Key light a Main source of light in scene b Often a directional light source c Commonly placed at 45 degree angle to subject 5 Fill light a Reduces shadow areas in scene b Placed opposite of the key light c Almost always diffused 6 Back or rim light a Separates subject from background b Directional light placed behind subject 9 7 Key light a 45 degree angle to subject b Directional light 8 Fill light a Opposite side and close to camera b Diffused light c Half the intensity of the key light 9 Back light a Behind subject to create rim b Directional light c Same intensity as key light d OTHER LIGHT PLACEMENTS 10 Side light a Excellent for accentuating texture of background 11 Kicker a Placed behind and to the side of subject b Similar function as a back light 12 Eye light a Small light that adds sparkle to eyes HIGH and LOWKEY LIGHTING 13 Highkey lighting a All areas of scene are well illuminated b Upbeat style good for comedy and talk 14 Lowkey lighting a Pools of light and dark within scene b Also called quotchiaroscuro lightingquot c Moody and mysterious lighting style LIGHTING RATIOS 15 Key and back lights have same intensity 16 Key and ll set at 2 to 1 ratio a Key should be twice as bright as ll 17 Ratio over 2 to 1 creates lowkey effect 18 Allow mood of scene to dictate ratios INDOOR LIGHTING TIPS 19 Maintain lighting continuity in scene a Direction and intensity of light should be consistent 20 Light long shots rst and closeups last a Light will have to be adjusted some for CUs 21 Avoid quotraccoon eyesquot a Use low tightly focused light to brighten eye sockets 22 Lighting for movement is dif cult a Maintain manageable exposures b Use multiple lights to keep lighting consistent 23 Bounced light is effective in con ned spaces a Make sure wall or ceiling is white 24 Find quotcenter of lightquot when aiming on subject OUTDOOR LIGHTING TIPS 25 Use re ectors or bounce boards to add ll to subjects 26 Overcast skies are excellent for even color saturation 27 Shoot at quotmagic hourquot when possible a Early morninglate evening hours when light is low b Produces warm beautiful light PROS AND CONS OF HARD LIGHT 28 Bene ts of hard light a Excellent for dramatic lowkey lighting b Provides more light levels for coverage area c Easier to control spill of unwanted light 29 Detriments of hard light a Takes more time to light scene correctly b Can look harsh or unrealistic PROS AND CONS OF SOFT LIGHT 30 Bene ts of soft light a Soft light is more forgiving b Gives a warm natural feel to a scene 0 Typically faster to light scene with soft light 31 Detriments of soft light a Hard to control spill of unwanted light b Difficult to build up adequate light levels DAY INTERIORS 32 Windows often provide best source of light 33 Consider time of day when simulating daylight a Early or lateday light should be lower b Use amber gels to warm up lights 34 Remember CTBCTO when using mixed light 35 Use ND on windows to balance exterior exposure with interior exposure NIGHT INTERIORS 36 Night interiors often rely on hard light 37 Use practical to determine light placements a Lamps are the most common interior practical b Use only one practical for lowkey scenes 38 Use pale blue gels to simulate moonlight 39 Have a variety of bulb wattages or a dimmer to control intensity of practicals within the shot DAY EXTERIORS 40 Often difficult to maintain lighting continuity a If possible shoot under consistent sky conditions b Shoot similar long shots within a short time period c Closer shots are easier to match because they are easier to control 41 Smaller lights are virtually useless outside a Use re ectors or 10 K lights instead NIGHT EXTERIORS 42 Common night practical include a Street lights head lights moonlight etc 43 Wet pavement is a great device for creating interesting light re ections 44 Difficult to create night shots with depth a Need many strong lights to create depth LIGHTING SAFETY 45 46 47 48 49 50 51 52 53 Handle lights with gloves Don t look directly into light Warn others when turning on light a quotFlame onquot Secure lights and stands a Tighten screws and sandbag legs Don t touch lamp on or off Be careful moving lights that are on Don t overload circuits at 1 amp of power for every 100 watts Leave lights on only when necessary Allow lights to cool before packing
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