Rasa application in my short film Shringara rasa. The antagonist is shown as lustful man..lust, fear, doubt, cruelty, pervertedness can be aroused to show shrignara in negative way And the wife and husband are also indulging in shringara , as they got married a month ago..in which love. Romance lust can be arousedWhen various characters develop various bhavas. The spectators realize rasa and are delighted..The majority of them do not accept rasas as the karunaas painful. Rasa is recognized by them as all bliss, transcendental and indescribable.

Rasa being a product of the stimulants vibhavas which are reactions of the hero anubhavas to them, and the ancillary feelings or moods vyabhicarins in the particular situation, when all of them combinewith the sthayin or the latent emotion of the hero or the principal character in the play anukarya. Lighting for my short film.. Day light can be used as diffused light by using white curtains. Or blue curtains. To the source light. If The difference between hard and soft lighting in your filmsHard light often creates harsh, sharp-edged shadows. With soft lighting, the light is more diffused and evenly spread out. Direct sun overhead on a bright sunny day is an example of hard lighting. When the sun is behind clouds in the sky, this creates soft lighting.

Hard and soft lighting can also be created artificially with the use of different lights. A direct spotlight would be another example of hard lighting while gentler overhead lighting with various lamps around to help fill in shadows could be considered a more soft form of lighting.

Hard lighting occurs when you have a relatively concentrated light source. Areas behind the light source are often blocked off from the light and create hard, dark shadows. Hard light sources include the sun, bare light bulbs and flash bulbs.

Lighting is softened when the illumination is scattered. Clouds or light-toned surfaces can create soft lighting. When soft lighting is present, it creates shadow areas which are diffused and soft edged.

One form of lighting isnt necessarily better than the other one. It all depends on what the desired effect is. Obviously, hard lighting in a normal portrait situation would not be desirable. Hard shadows cast on a human face can look distracting and unprofessional. However some abstract or nature footage would look great with hard lighting.

Example of Soft Lighting

Using Back Lighting to Create SilhouettesHow to incorporate backlighting into your filmsBacklighting is exactly how it sounds. Its lighting from behind the subject. Backlighting can be a filmmakers friend and in other cases it can be a filmmakers worst enemy. Backlighting usually causes the subject in the foreground to be underexposed, possibly even silhouetted, as the camera adjusts itself to be able to expose the bright background properly.

Using Backlighting to Create Silhouettes

Creating silhouettes is not hard. All you need to do is ensure there is a wide enough variance in the tonal range of your foreground subject and your background source of light. For instance, if you are shooting a dark object such as a person against a bright sky, all you need to do is set your exposure to capture the sky properly and youll effectively underexpose your foreground object, in this case a person. If however your foreground object was only darkened and not fully silhouetted, then you may need to slightly underexpose your background sky to further exaggerate the silhouette and make the foreground object appear entirely black. The more you underexpose your footage the more exaggerated this effect will be.Using Side Lighting in your Film & Video ShootsFilmmaking: Lighting techniquesSide lighting can also add a dramatic look to your movies. With a side lit shot, one side of your subject will be illuminated while the other side may be in total darkness. Obviously there are varying degrees to which you can exaggerate the effects caused by side lighting. You can alter the intensity of the shading by ensuring the dark side has very little lighting and the bright side has a lot of lighting. You can also alter the dramatization of the effect by positioning the light at different angles.

Next are two examples of shadows caused by effective side lighting.

Notice in this example, the light coming in from the window is enough to cast a substantial amount of light on his face, while the rest of the room remains dark.You can also use side lighting in less extreme ways.

Notice how in this picture the side lighting is much more subtle. In nature, side lighting can be a filmmakers dream and at other times side lighting can be a nightmare. It all depends on what the Director of Photography (DOP or DP) is tying to capture.

Note, depending on the intensity of the light coming through, the shadows cast in the frame can be too dark, almost creating objects in and of themselves. Other times the lighting may not be strong enough giving a washed out look to the footage.

In the picture below, notice how side lighting caused an undesirable effect by creating dark shadows behind the models back.

Another benefit of side lighting is that it is great for bringing out texture in a shot. In fact there is no better way to bring out texture than by using a good side lighting source. Youve probably seen movies before where you can see every single texture detail. Maybe it is the vividness of wrinkles in a persons face, maybe its the fuzz on plant leaves. These things can be amplified and you can make texture a primary element by ensuring you are shooting when you have a good natural or artificial side lighting source. Look at the picture below to see how side lighting can really help bring out texture.

Diffusion & Light Reflection in Your Films & VideoLighting for films and documentariesIn this next section we will discuss different types of light diffusion and reflection.Diffusion.

Using materials such as tracing paper or opal plastic acts to scatter the hard light coming through it and turns hard light into softer, gentler light.

Specular reflection

When you direct light off a glossy, white-toned surface the light will remain harsh and directional.

Selective absorption

Smooth gray or colored surfaces absorb some light and reflect the rest.

Reflective surface

With directional lighting you may have unwanted shadows cast on your subject. For example, if you had a basketball and you set-up a small light on the right hand side of it to cast a harsh directional light on it, the left hand side would be covered with shadows. If this is not the desired effect, you will need to place a white reflective surface (even a small white piece of paper may do the trick) on the left hand side to reflect the light and fill in some of the shadows on the left hand side.

Using two lights to fill in the shadows

Alternatively, if you have access to two lights you can use a second lamp on the other side of the object to fill in the shadows. However, you need to be careful with this technique because if you place two directional lights at equal distance from the subject then they will cancel each other out and youll have shadows on both sides. This looks very unnatural to have shadows on two sides of a subject. Imagine standing outside and having a shadow on either side of you. Its just wrong.

To fix the problem, you have two options. Either use a reflective surface or diffuse the light from your second light. The second light will therefore be soft light and wont cast the unwanted, unnatural shadows.

The best way to show you about lighting is through visual examples of how lighting can be used. We recently worked with a professional lighting studio to bring you various videos on how to use three point lighting and how to silhouette shots. We also demonstrate the difference in naturally lighting your shots vs. lighting your scenes with studio lighting. To see these videos you'll need to sign up as a student of ouronline film course.PHOTOGRAPHIC LIGHTINGIn this discussion of lighting, the basic lighting techniques used by photographers are presented. Lighting used primarily with a certain segment of photography, such as motion picture, TV, portrait, and studio, are discussed in the chapters relevant to that particular subject.OUTDOOR LIGHTINGAs a photographer, you work with light to produce quality pictures. The color, direction, quantity, and quality of the light you use determines how your subjects appear. In the studio, with artificial light sources, you can precisely control these four effects; however, most of the pictures you make are taken outdoors. Daylight and sunlight are not a constant source, because they change hourly and with the weather, season, location, and latitude. This changing daylight can alter the apparent shapes, colors, tones, and forms of a scene. The color of sunlight changes most rapidly at the extreme ends of the day. Strong color changes also occur during storms, haze, or mist and on blue wintery days. The direction of light changes as the sun moves across the sky. The shape and direction of shadows are altered, and the different directions of sunlight greatly affect the appearance of a scene.The quality of sunlight depends on its strength and direction. Strong, direct sunlight is "hard" because it produces dark, well-defined shadows and brilliant highlights, with strong modeling of form. Sunlight is hardest on clear summer days at noon. Strong sunlight makes strong colors more brilliant, but weak colors pale. Sunlight is diffused by haze, mist, and pollution in the air. This diffused or reflected light is softer; it produces weak, soft shadows and dull highlights. Directionless, diffused sunlight is often called "flat" lighting because it produces fine detail but subdues or flattens form. Weak, directionless sunlight provides vibrant, well-saturated colors.FrontlightingThe old adage about keeping the sun at your back is a good place to continue our discussion of outdoor lighting. The type of lighting created when the sun is in back of the photographer is called frontlighting. This over-the-shoulder lighting was probably the first photographic advice you ever received. This may seem to be a universal recipe for good photography. But it is not. The case against over-the-shoulder lighting is it produces a flattened effect, doing nothing to bring out detail or provide an impression of depth. The human eye sees in three dimensions and can compensate for poor lighting. A photograph is only two-dimensional; therefore, to give an impression of form, depth, and texture to the subject, you should ideally have the light come from the side or at least at an angle.Side LightingAs you gain experience with various types of outdoor lighting, you discover that interesting effects can be achieved by changing the angle of the light falling on your subject. As you turn your subject, change the camera viewpoint, or wait for the sun to move, the light falls more on one side, and more shadows are cast on the opposite side of the subject. For pictures in which rendering texture is important, side lighting is ideal.Look at a brick wall, first in direct front sunlight and then in side lighting. Direct, front sunlight shows the pattern of the bricks and mortar in a flat, uninformative way, but side lighting creates shadows in every little crevice (fig. 5-24). The effect increases as the light is more parallel with the wall until long shadows fall from the smallest irregularity in the brickwork This can give an almost 3-D effect to a photograph.

Side lighting is particularly important with black-and- white photography that relies on gray tones, rather than color, to record the subject. Shadows caused by side lighting reveal details that can create striking pictures from ordinary objects that are otherwise hardly worth photographing in black and white. Anything that has a noticeable texture-like the ripples of sand on a beach, for example-gains impact when lit from the side. Landscapes, buildings, people, all look better when sidelighted.This applies to color photography as well. Color gives the viewer extra information about the subject that may make up for a lack of texture in frontlighting, but often the result is much better when lit from the side.Pictures made with side lighting usually have harsh shadows and are contrasty. To lighten the shadows and reduce the contrast, you may want to use some type of reflector to direct additional skylight into the shadow areas or use fill-in flash, whichever is more convenient.BacklightingWhen the sun is in front of the photographer, coming directly at the camera, you have what is referred to as backlighting; that is, thesubjectis backlit. This type of lighting can be very effective for pictures of people outdoors in bright sunlight. In bright sunlight, when subjects are front-lighted or even sidelighted, they may be uncomfortable and squint their eyes. Backlighting helps to eliminate this problem. Backlighting may also require the use of a reflector or fill-in flash to brighten up the dark shadows and improve subject detail. Backlighting is also used to produce a silhouette effect.When you use backlighting, avoid having the sun rays fall directly on the lens (except for special effects). A lens hood or some other means of shading the lens should be used to prevent lens flare.EXISTING LIGHTExisting light photography, sometimes called available or natural light photography, is the making of pictures by the light that happens to be on the scene. This includes light from table, floor, and ceiling lights, neon signs, windows, skylights, candles, fireplaces, auto mobile headlights, and any other type of light that provides the natural lighting of a scene-except daylight outdoors. (Moonlight is considered existing light.) Existing light then is that type of light found in the home, in the office, in the hangar bay, in the chapel, in the club, in the sports arenas, and so on. Outdoor scenes at twilight or after dark are also existing light situations.Photography by existing light produces pictures that look natural. Even the most skillfully lighted flash picture may look artificial when compared to a good existing light photograph. With existing light photography, the photographer has an opportunity to make dramatic, creative pictures. Existing light allows the photographer greater freedom of movement because extra lighting equipment is not required. Subject distance, when not using flash, has no effect on exposure; therefore, you can easily photograph distant subjects that could not otherwise be photographed using flash or some other means of auxiliary lighting. With existing light, you can make pictures that could not be taken with other types of lighting; for example, flash may not be appropriate during a change of command ceremony or chapel service. Not only can the flash disturb the proceedings, but it may not carry far enough to light the subject adequately.For existing light pictures, your camera should be equipped with a fast lens-at least f/2.8, but preferably about f/1.4. The camera shutter should have a B or T setting, and for exposures longer than about 1/60 second, you need a tripod or other means of supporting the camera.Because the level of illumination for many existing light scenes is quite low, you may want to consider using a high-speed film. When making pictures with plenty of existing light or when you particularly want long exposures for special effect, you can use a slower film; however, the advantages of high-speed film are as follows: Allows you to get adequate exposure for hand-held shots. Allows you to use faster shutter speeds to reduce camera and image motion. Permits the use of longer focal-length lenses when the camera is hand-held. Allows the use of smaller f/stops for greater depth of field.When you are making existing-light color pictures indoors of scenes illuminated by tungsten light, use a tungsten type of film. When the light for your indoor color pictures is daylight from a window or skylight, use a daylight type of color film or use tungsten film with a No. 85B filter. Always use an exposure meter to calculate your indoor existing light exposure. When a bright window is included in the background, take a closeup meter reading of the subject to prevent the meter from being overly influenced by light from the window.Pictures made indoors by existing daylight are pleasing to the viewer, because of the soft diffused light and the squint-free expression of your subjects. Open all the window drapes in the room to get the highest level of illumination possible. Pose your subject to allow diffused daylight to fall on the front or side of their face.Try not to pose your subject in a position where too much of the facial features are in shadow, unless you are trying for a special effect, such as a silhouette. When you photograph your subject in direct nondiffused sunlight coming through a window, you have more light to work with, but the light is contrasty and your subject has a tendency to squint.Indoor existing light, artificial or otherwise, may be quite contrasty; for example, when your subjects are close to the source of light and well-illuminated, while other areas of the scene are comparatively dark. By turning on all the lights in the room, you can make the illumination more even and provide additional light for exposure and at the same time reduce the scene contrast. The contrast created by some artificial lighting can also be reduced in an average size room by bouncing auxiliary light off the ceiling or by using reflectors. Adding auxiliary bounce lighting or reflectors means you are not making true existing light pictures, but this extra light helps to reduce contrast without spoiling the natural appearance of the scene.Fluorescent LightingIndoor scenes illuminated by fluorescent lights usually appear pleasing and natural in real life; however, color pictures of these same scenes often have an overall color cast that makes them appear unnatural. Fluorescent light emits blue and green light primarily and is deficient in red light. Most color pictures made without a filter under fluorescent light are also deficient in red and have an overall greenish appearance. Used correctly, fluorescent light has some advantages over other types of available light. A room illuminated by fluorescent lamps is usually brighter and more evenly lighted than a room illuminated by tungsten lamps. This higher level of light makes it easier to get enough exposure for your existing light photography and helps record detail that may have been lost in the shadow areas with other types of existing light. When photographing people, however, fluorescent lighting often causes dark shadows under the subject's eyes. These shadows cause the eyes to appear dark and sunk in.For making color pictures under fluorescent lighting, a negative color film with the appropriate filter is most often your best bet. Color negative film has a wide exposure latitude that permits, to some extent, a variation in exposure without detracting from the quality of the finished print. The greenish effect caused by fluorescent lighting can be partially corrected when the color negatives are printed..For color slides with fluorescent light, a daylight type of film with the appropriate filter is best. Tungsten film usually produces slides with too much blue or green when made with fluorescent light.As discussed in chapter 3, the use of filters for color photography helps to overcome the deficiency of red light in fluorescent lamps. Always consult thePhoto-Lab Indexfor the best film filter combinations to use.Pictures Outdoors at NightOutdoor night scenes usually include large areas of darkness broken by smaller areas of light from buildings, signs, and streetlights. Pictures of outdoor scenes are quite easy to make because good results are obtainable over a wide range of exposures. Using short exposures emphasizes well-lit areas by preserving the highlight detail, while the shadow areas are dark because of underexposure. Long exposures help retain the detail of the dark areas, while highlight detail is lost because of overexposure.Large, dark areas in night scenes make it difficult to make accurate exposure meter readings from your camera position. The best meter reading results are obtained when you take closeup readings of important scene areas.Color outdoor pictures at night can be made on either daylight or tungsten-type films. Pictures made on daylight film have a warm, yellow-red appearance. Those made on tungsten film have a colder more natural look; however, both films provide pleasing results, so it is a matter of personal preference which you use. A good time to make outdoor night color pictures is just before it gets completely dark. At this time, some rich blue (or even orange) is in the sky. This deep color at dusk gives a dramatic background to your pictures. Neon signs, streetlights, and building lights make bright subjects for your pictures. At night, right after it stops raining and everything is still wet, is another good time to make outdoor pictures. The lights in the scene produce many colorful reflections on the wet pavement, adding interest to what may otherwise be a lifeless, dull picture.Many buildings look rather ordinary in daylight, but at night, they are often interestingly lighted. Try photographing the hangar at night, with the lights on and the hangar doors open. Also, your ship at night, especially a rainy night may make a very striking picture.Outdoor events that take place at night in a sports stadium are usually well-lighted and make excellent subjects for existing light pictures. Most sports stadiums (as well as streets) are illuminated by mercury-vapor lamps that look blue-green in color when compared to tungsten lamps. Your best color pictures made under mercury-vapor lighting will be shot on daylight color film, although they will appear bluish green because the lights are deficient in red. Tips for existing light photography are as follows: Carry a flashlight so you can see to make camera settings. If you do not have an exposure meter or cannot get a good reading, bracket your exposure. Focus carefully; depth of field is shallow at the wide apertures required for existing light photography. When you have a scene illuminated by a combination of light sources, use the type of color film recommended for the predominant light source. For pictures of fireworks, support your camera on a tripod, focus at infinity, and aim the camera toward the sky area where the display will take place. Open the shutter for several bursts.Diffusion Material In Film & Video ApplicationsContent Diffusion Material What Diffusion Does Use And Placement Of Diffusion Material Types Of DiffusionDiffusion MaterialWhen light from a point source shines on a three dimensional object, shadows are created. Of course, these shadows are the areas where the light does not fall. In nature, the sun on a bright cloudless day is a good example of light from a single point source.This same basic principle applies to most of the lighting equipment used in film and video production. The reflectors in such fixtures gather the light into a point source and then focus it, usually through a lens. The resulting beam of light is directional, offering a high level of intensity or "punchy but it can also present a number of drawbacks: The beam field may be uneven in intensity The beam edge may be too harsh The hard shadows created by the point source nature of the fixture may be objectionable or unflattering to the subject. This is most notable when the subject is a person-facial features, age lines and wrinkles become more prominent.What Diffusion DoesOn an overcast day, water vapor in the cloud cover alters the harsh directional quality of sunlight by causing it to be spread out or dispersed. The resulting light seems to be coming from the entire sky, producing an illumination that is softly diffuse. Shadows are faint or undefined. Contrast is lowered.Rosco diffusion material acts in a similar fashion. When placed in the beam path of a lighting fixture, diffusion material modifies the harsh quality of the light by spreading or dispersing the beam. This softens the quality of the illumination by increasing the apparent beam size and thereby altering the beam's "shadow casting properties".The most important difference between atmospheric diffusion and Rosco's version is that the Rosco diffusion materials can be utilized to produce controllable and predictable results at any time.Use And Placement Of Diffusion MaterialDiffusion material can be placed at the source in a gel holder, clipped to barn doors or positioned in front of a fixture in a frame. Each position produces a slightly different effect.Large diffusion panels can turn multiple lighting fixtures into a single source of soft, low contrast illumination. As overheads, diffusion can be placed above sets to deliver a soft, overcast look or used outdoors to diffuse harsh sunlight. Sets can even be "tented or completely surrounded with diffusion to produce an extremely soft, shadowless quality that is particularly useful for product photography of specular objects like glassware, jewelry and automobiles.Types OF DiffusersTough White Diffusion and Grid Cloth are heavy diffusers. Both create near shadowless light when used in large frames away from light. Multiple light sources can be made to appear as one. For example, these diffusers can take five 1,000W lamps grouped together, and the expected multiple shadows will not appear.Faces love these materials-especially when Tough White Diffusion is placed close to the lamp and when Grid Cloth is mounted far away. Don't believe me, ask the doll in the tests.Diffusion possibilities are endless. Their use should be based on your own likes and dislikes. Be bold. Experiment. Create. It is important to remember that diffusion is designed to enhance the quality of the light; it is not a cure-all for a badly placed light.Diffusion Types - "Tough"The following diffusion groups are designated "Tough". This indicates that the base material is a heat stable polyester that can be used with most high-temperature lighting fixtures.TOUGH SPUNFeathers the beam edge and softens the overall field, yet beam shape is maintained. Minimal beam spread. Tough Spun #3006 Light Tough Spun #3007 Quarter Tough Spun #3022TOUGH FROSTA general purpose group that offers slight to medium diffusion properties. Moderate beam spread, yet still maintains a discernible beam center. Tough Frost #3008 Light Tough Frost #3009 Opal Tough Frost #3010 Powder Frost #3040 Light Opal Tough Frost #3020TOUGH WHITE DIFFUSIONA general purpose group that offers medium to dense diffusion properties. Wide beam spread creates an even field of soft, shadowless light that is quite pleasing. Tough White Diffusion #3026 Tough Half White #3027 Tough Quarter White #3028TOUGH ROLUXThe original dense diffuser. Wide beam spread creates an even field of soft, shadowless light. Light Tough Rolux #3001 Tough Rolux #3000GRID CLOTHA group of reinforced woven materials that offer medium to very dense diffusion properties. Very wide beam spread creates a very soft shadowless quality. Ideal for tenting, overheads, and large area diffusion. Can be sewn or grommetted to fit butterfly and overhead frames. Grid Cloth #3030 Light Grid Cloth #3032 Quarter Grid Cloth #3034TOUGH SILKA unique diffuser with directional properties. Spreads the beam in one direction-horizontally, vertically or diagonally-to create a slash of light. Also useful for spreading out an unwanted beam scallop caused by tight spaces and extreme lighting angles. Good transmission. Tough Silk #3011 Light Tough Silk #3015Diffusion Types - "Soft"Soft diffusion materials are quiet when used outdoors in windy conditions. They can also be heat-welded to produce large panels for overhead tenting and large area diffusion. However, these materials are only moderately heat resistant and should not be used directly on high temperature lights. Soft Frost #3002 Wide Soft Frost #3023 Half Density Soft Frost #3004 Hilite #3014 Silent Frost #30129Soft Light BasicsByHarry C. Box

Photo Courtesy of Sean GardnerSoft light results when light is bounced or diffused over a relatively large surface, either by light shining through a large frame of diffusion, or light bouncing off of a large white surface. When this happens, the lights quality is altered in a fundamental way. When light moves away from a conventional light fixture, the rays of light are diverging from the relatively small area of the reflector and lamp. In contrast, when light moves away from a soft source, the bounced or diffused rays move away from all points of the diffuse luminous surface. If you think of it from the point of view of the subject being lit, light is coming to the subject from many angles. This results in three qualities that are often very desirable:1. Soft shadows.No clean, sharply discernible line is projected. The shadow lines are broad and fuzzy. Shadows appear as gradations of tone, so that the entire image is imbued with a softness that is natural and also very beautiful. The fuzzy quality of soft shadows also makes them easier to hide in situations where multiple shadows would be distracting.2. Soft light around the features of the subject.Whereas a face lit from one side by hard light is like a half moon (bright on one side and black on the other), lit by a large soft source, it shows a gradual drop off of light from one side to the other. Soft light tends to fill in blemishes in the skin. The overall picture has a full tonal range, light to dark, with no harsh shadow lines and lower overall contrast than when lit with harder light.3. Interesting reflections.When lighting shiny or glossy subjects or surfaces with glossy finish, a soft source is reflected as an amorphous highlight. Hard light, on the other hand, is reflected as a bright, glaring hot spot.

Photo Courtesy of Jay LewisA soft source can be used to create a soft highlight in dark wood, bringing out dark furniture or paneling by catching a reflection of the light source. The gaffer places the light where it is seen by the camera as a reflection in the surface. Especially in cases where you dont want to throw a lot of light onto the walls, this approach yields a subtle, more natural effect. Along the same lines, a soft source makes a nice eye light. It reflects in the shiny part of the eye, giving the eyes a special brightness. A large, soft source reflected in this way need not actually shine a lot of light onto the subject; it need only be bright enough to create a visible highlight reflection.Excerpted from The Set Lighting Technicians Handbook by Ha

Diffused