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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
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