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This fully revised and updated fourth edition of Motion Picture and Video Lighting explores the technical, aesthetic, and practical aspects of lighting for film and video. Experienced author and filmmaker Blain Brown covers not only how to light, but also why .
This fully revised and updated fourth edition of Motion Picture and Video Lighting explores the technical, aesthetic, and practical aspects of lighting for film and video. Experienced author and filmmaker Blain Brown covers not only how to light, but also why.
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Blain Brown has worked as a Director of Photography on feature films, commercials, industrials, music videos, and documentaries for over thirty years. His other books include Cinematography: Theory and Practice, 4th Edition (2021), The Basics of Filmmaking (2020), and The Filmmaker's Guide to Digital Imaging (2014).
Inhaltsangabe
HISTORY OF LIGHTING Controllable Light Early Film Production Introduction of Tungsten Lighting The Technicolor Era HMI, Xenon, Fluorescent, and LED Sources Kino Flo LEDs LIGHTING SOURCES Types of Lights Fresnels LEDs Efficiency LED Panels LED Fresnels Remote Phosphor LEDs Tungsten Fresnels The 10K and 20K/24K The 5K Juniors 1K 650, Betweenie, and InBetweenie Inkie HMI Units 12K and 18K 6K and 8K 2.5K and 4K Smaller HMIs When an HMI Fails to Fire Care and Feeding of HMIs Xenons Open Face Lights Skypan 2K Open Face 1000/600/650 Watt Open Face Par 64 PAR Groups Dino, Moleeno, and Wendy Maxi-Brute FAYs HMI PARs Soft Lights Space Lights Fluorescent Rigs Color Correct Fluorescent Units Color Correct Bulbs Cycs, Strips, Nooks, and Broads Plasma Lights Other Types of Sources Chinese Lanterns Lekos Crane Mounted Lights Jokers Dedolights Balloon Lights Barger Lights LIGHTING BASICS The Fundamentals of Lighting The [Conceptual] Tools of Lighting The Attributes of Light What are the Goals of Good Lighting? Full Range of Tones Shape Separation Depth Texture Mood and Tone Exposure and Lighting Hard vs. Soft Color Control and Color Balance Some Lighting Terminology Working With Hard Light And Soft Light Hard Light Soft Light Direction Avoiding Flat Front Lighting Light from the Upstage Side Backlight and Kicker Intensity Adding Texture in Lighting Color Lighting Techniques Classical Hard Light Ambient Bringing it Through the Windows Motivated Lighting And Practicals Motivated Light Lighting with Practicals Available Basic Principles of Lighting Back Cross Keys Ambient Plus Accents Lighting Through the Windows Available Light Windows Day Exteriors Open Shade and Garage Door Light Sun As Backlight Magic Hour CONTROLLING LIGHT Hard Light and Soft Light Fill for Day Exteriors Silks and Diffusion Scrims and Barndoors Flags, Solids, and Nets Chimeras and Snoots Softboxes Eggcrates The Window Problem ND For Windows Cookies, Celos, and Gobos Dimmers LED Dimmers Hand Squeezers SCENE LIGHTING Lighting Plans General Principals of Scene Lighting Let's Look at These One by One Read the Script Confer With the Director Light the Scene, Not the Set Insist on Seeing a Full Rehearsal Insist on Having Lighting Stand-Ins What Are the Opportunities? The Set The Action Script Hints Consider Your Resources Lights Power The Location The Director's Concerns The Plan Lighting a Scene With Practicals Lighting/Grip Order LIGHT AS STORY Storytelling With Light Metaphor Atmosphere The Power of Darkness Establish Character COLOR Color Terminology Color Temperature: The Balances Warm and Cool Magenta vs. Green The CIE Diagram The Spectral Locus The White Point The Line of Purples Color Balance with Gels and Filters Conversion Gels Light Balancing Gels CTO CTB Color Correction Gels Dealing with Fluorescent Light Correcting Off-Color Lights HMI Industrial Lamps Camera Filtration for Industrial Sources Measuring Color Color Meters The Vectorscope Calibration Test Charts DSC Labs Test Charts The One Shot The X-Rite ColorChecker Color as a Storytelling Tool EXPOSURE Exposure Theory What Do We Want Exposure to Do for Us? The Bucket Controlling Exposure Change the Bucket The Elements of Exposure Light F/Stops The Response Curve Underexposure Overexposure Correct Exposure Higher Brightness Range in the Scene Two Types of Exposure The Bottom Line Exposure in Shooting RAW Video The Tools of Exposure The Incident Meter The Reflectance Meter A Different World of Exposure Setting Exposure with the Waveform Monitor F/Stops on the Waveform Exposure Indicators in the Camera Zebras Histogram Traffic Lights and Goal Posts Goal Posts Traffic Lights False Color Exposure Display Red False Colors Comparing Red Exposure Modes Arri Alexa False Colors Strategies of Exposure Don't Let It Clip, but Avoid the Noise Texture & Detail The Dilemma Using Light Meters Meter the Key Using the Waveform Monitor Placing Middle Gray Start at the Bottom or Start at the Top Expose to the Right Zebras The Monitor Know Thyself and Know Thy Camera ELECTRICITY & DISTRO Measurement of Electricity Potential Paper Amps Electrical Supply Systems Single-phase Three-phase Power Sources Stage Service Generators Large Generator Operation Guidelines For Running Small Generators Paralleling Small Generators Does Paralleling Cause Damage to Generators? Tie-ins Tie-in Safety Determining KVA Wall Plugging Load Calculations and Paper Amps Ampacity Color Coding The Neutral Distribution Equipment Tie-in Clamps Busbar Lugs Connectors Bull Switches Feeder Cable Wire Types Wire Designation Codes Distribution Boxes Lunch Boxes, Snake Bites, and Gangboxes Extensions (Stingers) Zip Extensions Planning a Distribution System Balancing the Load Working with DC Calculating Voltage Drop Electrical Safety Wet Work HMI Safety Grounding Safety GFCI How Does a GFCI work? GRIPOLOGY Definitions Light Controls Reflectors Operating Reflectors Flags and Cutters Flag Tricks Nets Net Tricks Cuculoris (Cookies) Grids and Eggcrates Open Frames Diffusers Butterflies and Overheads Overhead Rules Griff Holding Grip Heads and C-Stands C-Stand Rules Highboys Clamps Studded C-Clamps C-Clamp Tips Bar Clamps Pipe Clamps Cardellini and Mafer Clamps Quaker Clamp Wall Plates, Baby Plates, and Pigeons 2K Receivers and Turtles Side Arms and Offset Arms Other Grip Gear Sandbags Apple boxes Wedges Candle Sticks Studded Chain Vise Grips SET OPERATIONS The DP The Team Gaffer Assistant Chief Lighting Technician Third Electric and Electricians Other Responsibilities The Key Grip Grips Other Crews Set Operations Load-In Staging The Generator Cabling The Process Rough-In Blocking Light Rehearsal Shooting Procedures Expendables TECHNICAL ISSUES Lighting for Greenscreen and Bluescreen Greenscreen/Bluescreen Tips Lighting for Process Photography Flicker The Power Supply Flicker-Free HMIs Dimmers Dimmer Systems DMX Working with Strobes Strobe Exposure Lighting and Exposure for High Speed Photography Exposure Flicker in High-Speed Photography Lighting With HMIs and High Speed Tips for Lighting High-Speed with HMIs Exposure for Macrophotography Depth-of-Field in Close-up Work Lighting for Extreme Close-up Underwater Filming Effects Rain Smoke Fire TV and Projector Effects Day-for-Night Moonlight Effect Water Effects Lightning Using the Sun APPENDIX Typical Lighting Order For A Small Independent Film Equipment Order List For a Large Studio Film Order for a 2nd Unit Night Shoot-Big Budget Film Light Loss For Common Diffusion Types Effect Of Diffusion on Color Temp Lamps and Sockets Lighting Expendables Order Form Building Your Own Hand Squeezer A Typical 5-Ton Truck Package INDEX
HISTORY OF LIGHTING Controllable Light Early Film Production Introduction of Tungsten Lighting The Technicolor Era HMI, Xenon, Fluorescent, and LED Sources Kino Flo LEDs LIGHTING SOURCES Types of Lights Fresnels LEDs Efficiency LED Panels LED Fresnels Remote Phosphor LEDs Tungsten Fresnels The 10K and 20K/24K The 5K Juniors 1K 650, Betweenie, and InBetweenie Inkie HMI Units 12K and 18K 6K and 8K 2.5K and 4K Smaller HMIs When an HMI Fails to Fire Care and Feeding of HMIs Xenons Open Face Lights Skypan 2K Open Face 1000/600/650 Watt Open Face Par 64 PAR Groups Dino, Moleeno, and Wendy Maxi-Brute FAYs HMI PARs Soft Lights Space Lights Fluorescent Rigs Color Correct Fluorescent Units Color Correct Bulbs Cycs, Strips, Nooks, and Broads Plasma Lights Other Types of Sources Chinese Lanterns Lekos Crane Mounted Lights Jokers Dedolights Balloon Lights Barger Lights LIGHTING BASICS The Fundamentals of Lighting The [Conceptual] Tools of Lighting The Attributes of Light What are the Goals of Good Lighting? Full Range of Tones Shape Separation Depth Texture Mood and Tone Exposure and Lighting Hard vs. Soft Color Control and Color Balance Some Lighting Terminology Working With Hard Light And Soft Light Hard Light Soft Light Direction Avoiding Flat Front Lighting Light from the Upstage Side Backlight and Kicker Intensity Adding Texture in Lighting Color Lighting Techniques Classical Hard Light Ambient Bringing it Through the Windows Motivated Lighting And Practicals Motivated Light Lighting with Practicals Available Basic Principles of Lighting Back Cross Keys Ambient Plus Accents Lighting Through the Windows Available Light Windows Day Exteriors Open Shade and Garage Door Light Sun As Backlight Magic Hour CONTROLLING LIGHT Hard Light and Soft Light Fill for Day Exteriors Silks and Diffusion Scrims and Barndoors Flags, Solids, and Nets Chimeras and Snoots Softboxes Eggcrates The Window Problem ND For Windows Cookies, Celos, and Gobos Dimmers LED Dimmers Hand Squeezers SCENE LIGHTING Lighting Plans General Principals of Scene Lighting Let's Look at These One by One Read the Script Confer With the Director Light the Scene, Not the Set Insist on Seeing a Full Rehearsal Insist on Having Lighting Stand-Ins What Are the Opportunities? The Set The Action Script Hints Consider Your Resources Lights Power The Location The Director's Concerns The Plan Lighting a Scene With Practicals Lighting/Grip Order LIGHT AS STORY Storytelling With Light Metaphor Atmosphere The Power of Darkness Establish Character COLOR Color Terminology Color Temperature: The Balances Warm and Cool Magenta vs. Green The CIE Diagram The Spectral Locus The White Point The Line of Purples Color Balance with Gels and Filters Conversion Gels Light Balancing Gels CTO CTB Color Correction Gels Dealing with Fluorescent Light Correcting Off-Color Lights HMI Industrial Lamps Camera Filtration for Industrial Sources Measuring Color Color Meters The Vectorscope Calibration Test Charts DSC Labs Test Charts The One Shot The X-Rite ColorChecker Color as a Storytelling Tool EXPOSURE Exposure Theory What Do We Want Exposure to Do for Us? The Bucket Controlling Exposure Change the Bucket The Elements of Exposure Light F/Stops The Response Curve Underexposure Overexposure Correct Exposure Higher Brightness Range in the Scene Two Types of Exposure The Bottom Line Exposure in Shooting RAW Video The Tools of Exposure The Incident Meter The Reflectance Meter A Different World of Exposure Setting Exposure with the Waveform Monitor F/Stops on the Waveform Exposure Indicators in the Camera Zebras Histogram Traffic Lights and Goal Posts Goal Posts Traffic Lights False Color Exposure Display Red False Colors Comparing Red Exposure Modes Arri Alexa False Colors Strategies of Exposure Don't Let It Clip, but Avoid the Noise Texture & Detail The Dilemma Using Light Meters Meter the Key Using the Waveform Monitor Placing Middle Gray Start at the Bottom or Start at the Top Expose to the Right Zebras The Monitor Know Thyself and Know Thy Camera ELECTRICITY & DISTRO Measurement of Electricity Potential Paper Amps Electrical Supply Systems Single-phase Three-phase Power Sources Stage Service Generators Large Generator Operation Guidelines For Running Small Generators Paralleling Small Generators Does Paralleling Cause Damage to Generators? Tie-ins Tie-in Safety Determining KVA Wall Plugging Load Calculations and Paper Amps Ampacity Color Coding The Neutral Distribution Equipment Tie-in Clamps Busbar Lugs Connectors Bull Switches Feeder Cable Wire Types Wire Designation Codes Distribution Boxes Lunch Boxes, Snake Bites, and Gangboxes Extensions (Stingers) Zip Extensions Planning a Distribution System Balancing the Load Working with DC Calculating Voltage Drop Electrical Safety Wet Work HMI Safety Grounding Safety GFCI How Does a GFCI work? GRIPOLOGY Definitions Light Controls Reflectors Operating Reflectors Flags and Cutters Flag Tricks Nets Net Tricks Cuculoris (Cookies) Grids and Eggcrates Open Frames Diffusers Butterflies and Overheads Overhead Rules Griff Holding Grip Heads and C-Stands C-Stand Rules Highboys Clamps Studded C-Clamps C-Clamp Tips Bar Clamps Pipe Clamps Cardellini and Mafer Clamps Quaker Clamp Wall Plates, Baby Plates, and Pigeons 2K Receivers and Turtles Side Arms and Offset Arms Other Grip Gear Sandbags Apple boxes Wedges Candle Sticks Studded Chain Vise Grips SET OPERATIONS The DP The Team Gaffer Assistant Chief Lighting Technician Third Electric and Electricians Other Responsibilities The Key Grip Grips Other Crews Set Operations Load-In Staging The Generator Cabling The Process Rough-In Blocking Light Rehearsal Shooting Procedures Expendables TECHNICAL ISSUES Lighting for Greenscreen and Bluescreen Greenscreen/Bluescreen Tips Lighting for Process Photography Flicker The Power Supply Flicker-Free HMIs Dimmers Dimmer Systems DMX Working with Strobes Strobe Exposure Lighting and Exposure for High Speed Photography Exposure Flicker in High-Speed Photography Lighting With HMIs and High Speed Tips for Lighting High-Speed with HMIs Exposure for Macrophotography Depth-of-Field in Close-up Work Lighting for Extreme Close-up Underwater Filming Effects Rain Smoke Fire TV and Projector Effects Day-for-Night Moonlight Effect Water Effects Lightning Using the Sun APPENDIX Typical Lighting Order For A Small Independent Film Equipment Order List For a Large Studio Film Order for a 2nd Unit Night Shoot-Big Budget Film Light Loss For Common Diffusion Types Effect Of Diffusion on Color Temp Lamps and Sockets Lighting Expendables Order Form Building Your Own Hand Squeezer A Typical 5-Ton Truck Package INDEX
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