Text Outline

Motion Picture & Video Lighting, 2nd Edition

By Blain Brown

Focal Press 2008

1 The History of Lighting – Controllable Light

– Early Film Production

– Introduction of Tungsten Lighting

– The Technicolor Era

– HMI, Xenon, Fluorescent, and LED Sources

– Kino Flo and LED

2 Lighting Sources

– Fresnels

• Tungsten Fresnels

• The 10K and 20K

• The 5K

• Juniors

• 1K

• 650, Betweenie and inBetweenie

• Inkie

– HMI Units

• 12K and 18K

• 6K and 8K

• 4K and 2.5K

• Smaller HMIs

• When an HMI Fails to Fire

– Xenons

– Brute Arc

– Open-Face Lights

• Skypan

• 2K Open Face

• 1000-/600-/650-Watt Open Face

• PAR 64

– PAR Groups

• Dino, Moleeno, and Wendy

• Maxibrute

• FAYs

• Ruby 7

– HMI PARs

– Soft Lights

• Studio Softs (8K, 4K, and 1K)

• Cone Lights

• Space Lighs

– Fluorescent Rigs

• Color-Correct Fluorescent Units

• Color-Correct Bulbs

– Cycs, Strips, Nooks, and Broads

– Miscellaneous

• Chinese Lanterns

• Crane-Mounted Lights

• Source Fours

• Sunguns

• Softboxes

• Jokers

• LED Panels

• Dedo Lights

• Balloon Lights

• Barger Baglight

• Scrime and Barndoors

• Spacelights and Chicken Coops

3 Fundamentals of Lighting p 35– What Do We Expect Lighting to Do for Us?

• Mood and Tone

• Full Range of Tones

• Color Control and Color Balance

– Adding Shape, Depth, and Dimension to a Scene

• Shape

• Separation

• Depth

• Texture

• Exposure

• Directing the Eye

– The Lighting Process

• The Process

• What Are the Requirements?

• What Tools Do You Have?

• What’s the Schedule?

• What Are the Opportunities?

– How to Be Fast

– Lighting Fundamental

• The Basic Elements

– Quality of Light

• Hard/Soft

– Other Qualities of Light

• Direction Relative to Subject

• Altitude

• High Key/Low Key (Fill Ratio)

• Specular/Ambient

• Relative Size of Radiating Source and Lens

• Modulation/Texture

• Movement

• Subject/Texture

4 Basic Scene Lighting p 58

– Medieval Knights Around a Campfire

• The Plan

• Flicker Effect

• Group Scene with Fire

– Science Fiction Scene

– Film Noir Scene

– Aces and Eights

– Detective Scene

– Young Inventor

– Miscellaneous Scenes

• Potter

• Beauty Shot

• Pool Room

• Pool Room CU

– Intimate Room Scene

– Black Cross Keys (Sitcom Lighting)

– Reality Show Set

– In or Out

– Day Exterior

– From Under the Floor

– Ambient from Above

– Confessions: Training Scene

– Confessions of a Dangerous Mind: Alley

• Creating an Exterior in the Studio

– X-Men Plastic Prison

• Stage Rigging

– Large Night Exterior

• Complex Stage Set

5 Lighting HD, DV, & SD Video p 86

– The Video Engineer and DIT

– The Waveform Monitor

– The Vectorscope

– Iris Control

– Electronic Pushing

– White Balance

– Transferring Film to Video

– Lighting for Multiple Cameras

– Monitor Setup

• Monitor Setup Procedure

• The PLUGE

– Camera White Balance

– Establishing a Baseline

– The Test Chart

6 Exposure Theory p 99

– The Bucket

– F/Stop

– Exposure, ISO, and LightingRelationships

• Lighting Source Distance

• ISO/ASA Speeds

– Chemistry of Film

– Film’s Response to Light

• The Latent Image

– Chemical Processing

• Color Negative

• Additive vs. Subtractive Color

– The H&D Curve

• The Log E Axis

• What is a Log?

– Brightness Perception

• Contrast

• “Correct” Exposure

• Brightness Range in a Scene

– Determining Exposure

– The Tools

• The Incident Meter

• The Reflectance Meter

– The Zone System

• Zones in a Scene

• The Grayscale

• Why 18%?

• Place and Fall

• Reading Exposure with Ultraviolet

• The Shutter

7 Theory & Control of Color p 128– The Nature of Light

– Color Perception

– The Tristimulus Theory

• The Purkinje Effect and Movie Moonlight

– Light and Color

• Additive and Subtractive Color

– Qualities of Light

• Hue

• Value

• Chroma

• Color Temperature

– The Color Wheel

• Color Mixing

• Film and Video Colorspace

– Color Harmonies and Interaction of Color

• Interaction of Color and Visual Phenomena

• The Laws of Simultaneous Contrast

• Metamerism

– The CIE Color System

• Standard Light Sources in CIE

• Digital and Electronic Color

– Control of Color

• What is White?

• Color Temperature

– Color Meters

– Color Balance of Film

• Color Balance with Camera Filters

• Conversion Filters

• Light-Balancing Filters

– Correcting Color Balance

• CTO

• Tungsten to Daylight

– Fluorescent Lighting

– Correcting Off-Color Lights

• Arcs

• HMI

• Industrial Lamps

• Stylistic Choices in Color Control

8 Electricity p 149– Measurement of Electricity

• Potential

• Paper Amps

– Electrical Supply Systems

• Three-Phase

• Single-Phase

– Power Sources

• Stage Service

• Generators

• Generator Operation

• Tie-ins

• Tie-in Safety

– Determining KVA

• Wall Plugging

– Batteries

• Battery Capacity

• Lead Acid

• Heavy Antimony

• Nicads

• Li-Ion and NiMh

– Load Calculation and Paper Amps

• Ampacity

• Color Coding

– The Neutral

– Distribution Equipment

• Tie-ins

• Busbar Lugs

• Connectors

• Bullswitches

• Feeder Cable

• Wire Types

• Distribution Boxes

• Lunch Boxes, Snake Bites, Gangboxers, and Four-Ways

• Extensions

• Planning a Distribution System

• Working with AC and DC

• Calculating Voltage Drop

• VCR

– Electrical Safety

• Wet Work

• HMI Safety

• Grounding Safety

9 Gripology p 173– Light Controls

• Reflectors

• Operating Reflectors

– Flags and Cutters

• Flag Tricks

– Nets

• Net Tricks

– Cuculoris

– Diffusers

• Butterflies and Overheads

• Griffs

– Holding

• Grip Heads

– Clamps

• Studded C-Clamps

• Miscellaneous

10 The Team & Set Operations p 190

– The DP

– The Team

• The Gaffer

• The Best Boy

• Third Electric and Electricians

• The Key Grip

• Grips

– Other Crews

• Set Operations

– The Process

• Rough-in

• Blocking

• Light

• Rehearsal

• Shooting

– Procedures

11 Lamps & Sockets p 203

– Types of Radiating Sources

• Carbon Arc

• Tungsten

• Tungsten-Halogen

– Enclosed Arc: HMI

– Household and Practical Bulbs

– Practical Bulbs

– Fluorescent Tubes

– Dichroics

12 Technical Issues p 213– Shooting with HMI Units

– The Power Supply

• Flicker-Free HMIs

– Dimmers

• Dimmer Systems on the Set

– Working with Strobes

• Strobe Exposure

– Exposure for Macrophotography

• Depth-of-Field in Closeup Work

• Lighting for Extreme Closeups

– Underwater Filming

– Effects

• Rain

• Smoke

• Fire

• TV and Projector Effects

• Day-for-Night

• Moonlight Effects

• Water Effects

• Lightning

– Using Daylight

– Lighting for Process Photography

• Chroma Key

• Greenscreen

• Lighting for Process Photography

• Greenscreen/Bluescreen Tips

Appendix p 232

– Brute Arc Operation

– International Plug and Socket Types

– Building Your Own Hand Squeezer

– Typical Lighting Order for a Small Independent Film

– Lighting Order for a Large Studio Film