Friday 16 June 2017

Lighting for Film

Starter: Complete the gap exercise on the handout provided.


You will consider the effect of lighting in film and discuss how audiences have been positioned.

Key terms:


Key Light, Main Light
The key may determine the character of the lighting, but often a strong Back Light for example, sets the Mood. The key should usually be Motivated by a source like the sun or a window. 




Fill Light, Filler
Fill is used to lighten shadows and control Contrast and Lighting Ratios. Tip: Avoid Hard Light fill and Over-kill Fill*. Angle: usually close to the lens, on the side opposite the Key.

B Lights*, The Two Bs *
Back Light and Background Light are frequently confused. Both begin with "back," both are used to Separate Planes and imply Depth, and both are tricky to Motivate so that they appear realistic. Each, however, points in a different direction. Tip: Discretion may dictate that only one or, on occasion, neither is really needed.



Bounce Card, Bounce Board

A white reflecting panel used for Fill or subtle Kicks. See: Show card.



Useful links:

http://www.creativeshrimp.com/high-key-lighting-in-blender-book-03.html

Lighting glossary



Lighting and colour can be used to create a certain atmosphere or mood
and can even be used symbolically.

Certainly directors are aware of the power of cultural connotations - for example if I say WHITE? -  what associations immediately come to mind… or RED?

Certain genres use colour more obviously than others and you have probably already noticed colours used in  sci-fi?    Horror?

Filmmakers use colour and lighting effects to make audiences well aware of the kind of film they are watching and when teaching your students the basics of film language, here’s what you need to know about lighting effects:

The basic organisation of  lighting looks like this:


The KEY LIGHT is the term for a powerful light that casts sharp, black shadows behind the things it illuminates. It’s the main source of light in a scene.

FILL LIGHTS can be used to soften these shadows and basically fill them in. More or less of these will be used depending on whether images are to be sharp or soft.
If people or objects are lit from behind it makes them stand out from the background and they become more prominent. Underlighting (from below) and toplighting create different kinds of shadow.

There are two main ways of describing the use of these lights -
HIGH KEY LIGHTING - means the use a lots of fill lights along with the key lights so everything is brightly lit and there are few shadows. This is the style you would expect in romantic comedies, youth pictures, the colour you’d expect from a glossy Hollywood film.


LOW KEY LIGHTING - uses fewer fills, so more shadows are created with definite pools of light interspersed - you might associate this with horror films and is the style of lighting associated with film noir.



High-key lighting is a style of lighting for film, television, or photography that aims to reduce the lighting ratio present in the scene. This was originally done partly for technological reasons, since early film and television did not deal well with high contrast ratios, but now is used to suggest an upbeat mood.

A low-key image is one that contains predominantly dark tones and colours. ... But where a high-key image feels airy and light, a low-key is usually dramatic and full of mystery. Low-key lighting is typically used when the director wants to either isolate a subject or convey drama.

The Three Point Lighting Technique is a standard method used in visual media such as video, film, still photography and computer-generated imagery.

Fill light is any source of illumination that lightens (fills in) areas of shadow created by other lights. Most often, fill light is used to lighten the shadows created by the main (key) light.

In lighting design, backlighting is the process of illuminating the subject from the back. In other words, the lighting instrument and the viewer face each other, with the subject in between. This creates a glowing effect on the edges of the subject, while other areas are darker.



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