© 2014 ellathompson

REFLECTION/ANALYSIS 5: PART 2 OF 3

Select from one of the readings from week 5, 6 or 7 and describe two points that you have taken from it. Points that excite you, something that was completely new to you.

I read Bernstein’s ‘Lighting the shot’ from pages 211 to 221 of Film production.

I’d always wondered how people light for actor and/or camera movement. So far in lighting, we’ve been taught to light for stationary shots. We’ve been taught to think of shots in the sense that nothing moves. But we’re making movies. Things are going to move. Eventually.

So I was really interested in the section of the reading about lighting for movement. In terms of actor movement, sometimes a single key light is adequate. Other times, multiple key lights have to be used. This is usually in situations where the moving subject covers a larger area. There are multiple methods of lighting for movement. The overlap method involves multiple key lights whose areas of coverage slightly overlap. This affords a constant light intensity while the subject moves. The “lighting pools” method is similar in terms of regularly spaced lights; however, there is no overlap. Instead, the subject moves into and out of light pools. Flat lighting often involves soft sources of lighting – light bounced off surfaces, ‘coffin lights’, ‘space lights’. It gives even and directionless illumination.

I really like the idea of the lighting pools method. That sort of dramatic lighting really appeals to me. Aesthetically. If I recall correctly, the escape scene in Slumdog Millionaire involves some lighting pools while the children are running through the trees, and when Latika is running next to the train. And that scene is a GORGEOUSLY LIT scene.

Another thing the reading mentioned which was new to me was effects lighting and “motivating light”. You look for the motivating light in the scene – a window, a lamp, the sun, a fireplace, etc. And then you light from there. (I also remember in the guest lecturer in Week 1o discussing that this was the first thing she does when figuring out how to light a scene.) This motivating light may require effects lighting. Effects lighting is where a certain story light source is simulated. Basic film lighting equipment – gels, scrim, different types of lights – can be manipulated to imitate the effect of a certain light source. The only thing I can think of that I’ve done that may come close to effects lighting is using a kino and diffusion paper to imitate morning sun streaming through a bedroom window.

Not sure if this is exactly effects lighting, but on a recent shoot we set up a Blondie (I think it was) with yellow/orange gel to stream light through a window covered in newspapers. This was supposed to simulate the sun. My phone camera didn’t pick it up too well, but it really looked great.

I’d love to have a go at effects lighting and lighting for movement. (Especially that lighting pools method!)

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