Tagged with technique - Personal View Talks

Reflectors

Vitaliy_Kiselev — Mon, 20 Jun 2011 18:42:59 +0000

Videos from Jem Schofield

http://www.thec47.com/gearbox/bright-little-light.html
http://www.thec47.com/gearbox/quote-unquote-light.html
http://www.thec47.com/gearbox/need-lotsa-light.html
http://www.thec47.com/gearbox/supportive-reflective.html

More photo oriented

"Jobs" Audio Podcast on What High-Budget Film-makers do on a Low-ish Budget.

Walker — Thu, 18 Apr 2013 11:26:04 +0000

Jobs was shot on an $8 500 000 (estimated) budget

see IMDB "Jobs" Page

*(from IMDB): The story of Steve Jobs' ascension from college dropout into one of the most revered creative entrepreneurs of the 20th century.

Hear American Cinematographer's Podcast (45 min, 84 MB) interview with cinematographer Russell Carpenter, and director Joshua Michael Stern about the Alexa, decisions to abandon anamorphic, to go ProRes, how to get that "gauzy, filmlike look", the importance of location - and so on..

from ASC:

American Cinematographer's Jim Hemphill talks with cinematographer Russell Carpenter, ASC and director Joshua Michael Stern about the film, Jobs, which explores the life and career of Apple founder Steve Jobs. Working with the budget of an independent film, they created three unique looks to capture the feel of different eras in Job's life, but were careful never to go 'over the top.'

Read about other films being made and listen to more ASC podcasts at http://www.theasc.com/ac_magazine/podcasts.php

Fill light

Vitaliy_Kiselev — Wed, 28 Sep 2011 21:47:46 +0000

In film school we were taught that the fill light determines the density of the shadows. What we weren’t taught was how important shadows are, and that while the “key” light certainly has directionality, the fill light can as well. Where shadows fall is just as important as how bright they are, which means that we need to look at not just intensity (which I’m not really going to cover here; that’s determined by your own taste) but at placement as well.

Here’s a typical three-point lighting setup. This is both a great learning tool and an awful formula to follow, because while most lighting breaks down into this in one way or another it is severely limiting if this is all you know how to do. Still, it’s a good starting point.

The reason the fill light is at the same height as the key probably stems from early studio cinematography when much of the lighting was placed high in a grid. Beauty lighting was often done from the floor (more on that later) but live television and grand feature film sets were almost always lit from the air.

In this scenario the key light is placed so that the nose shadow falls along the “smile line,” the line between the corner of the base of the nose and the edge of the mouth. The position of that light can make the nose shadow long (connecting to the cheek shadow for classical Rembrandt lighting) for “masculine” lighting or short when lighting for glamor. The fill light was set up opposite the key simply to fill in the shadows left by the key.

In the diagram above, where the key and fill light are the same size but differing intensities, the fill light will cast just as hard a shadow as the key light. The fill light’s shadow will be less obvious because it is less bright but it will still be present. There may be a dark area under the chin where neither light reaches but that can occasionally be helpful in hiding what a friend of mine calls “the gobbler,” pertaining to loose skin that collects under the chins of mature leading ladies.

Read the rest at: http://provideocoalition.com/index.php/aadams/story/fill_light_the_underdog_of_lighting/P0/