https://personal-view.com/talks/categories/lighting/p4/feed.rss Thu, 21 Nov 24 18:00:19 +0000 Lighting en-CA https://personal-view.com/talks/discussion/1053/fill-light Wed, 28 Sep 2011 21:47:46 +0000 Vitaliy_Kiselev 1053@/talks/discussions
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/]]> https://personal-view.com/talks/discussion/885/lighting-advice Thu, 08 Sep 2011 06:06:10 +0000 sam_stickland 885@/talks/discussions
http://www.ebay.co.uk/itm/PhotoSEL-5400K-Studio-Softbox-Lighting-Light-Kit-2x85w-/180679494748?pt=UK_Photography_Lighting_Kits&hash=item2a11564c5c

And generally I've been pretty happy with them. They've allowed me to get to grips with the basics of two and some three point lighting (using a small lamp or practical as a back light). They have a good colour rendition and they match daylight very well, which has been great for matching darker interiors with exterior light from windows and doors. And they don't run too hot either.

But I feel like I've outgrown them. There's things I don't like about them. They aren't dimable. I've replaced one of the 85W bulbs with a 35W to provide some different between the key and fill, but most of the time I found myself have to move the lights forwards and backwards to manipulate the brightness, and in some of the tighter spaces we film in this isn't always practical.

There also isn't really anyway to control the light - there's no doors, or focusing element. There's certainly no way to light individual areas with a small beam - these things just throw out big soft light.

So, I'd like something that improves on this, but my money is pretty tight at the moment. This is all unfunded, personal stuff. If I have to spring to more than £200 than I'll probably keep working with what I have for the time being.

It's also very important to me to try and keep setup time to a minimum. I really want to keep the amount of time spent filming high, rather than spending it on setup times that could be streamlined.

I do realise that I'm trying to break the "fast, good, cheap" rule :)

So, options, as I see them:

- Change the kit: Find one or two cheap lights, ideally around the same output and colour temperature, but dimable and more controllable. Is this likely for the price I want to pay?
- Modify the kit: Find some dimable bulbs and insert my own dimmer into the power cord (Do dimable high CRI, 5500K, cool bulbs exist now?) and buy some black wrap to add some more control.

Any advice appreciated!]]> https://personal-view.com/talks/discussion/782/cinematorgaphy-tutorial-lighting-from-upstage Sat, 27 Aug 2011 06:50:05 +0000 Vitaliy_Kiselev 782@/talks/discussions

As filmmakers you’ll often be looking for ways to add depth and dimension to your images. One way to do this is to “light on the upstage side of the camera” – meaning the side away from the camera. This will mean that your shadows will fall towards the camera rather than away from the camera.

Via: http://www.lightsfilmschool.com/blog/filmmaking-tutorial-lighting-from-upstage/1687/]]> https://personal-view.com/talks/discussion/769/cinematography-tutorial-using-flags-to-control-shadow-and-light- Fri, 26 Aug 2011 03:19:48 +0000 Vitaliy_Kiselev 769@/talks/discussions

A cinematographer once said that “Great cinematography is not about knowing how to turn a light on, it’s about knowing how to shape and mould that light”. The intention of his video tutorial is to help you understand that shadow is light’s creative equivalent.

Via: http://www.lightsfilmschool.com/blog/cinematography-using-flags/1679/
]]> https://personal-view.com/talks/discussion/619/low-light-tricks Mon, 08 Aug 2011 01:14:07 +0000 Ralph_B 619@/talks/discussions


]]> https://personal-view.com/talks/discussion/277/how-to-lighting- Fri, 24 Jun 2011 16:09:18 +0000 Vitaliy_Kiselev 277@/talks/discussions
Small spaces, elevator

Anatomy of a Spot: T-Mobile, http://provideocoalition.com/index.php/aadams/story/anatomy_of_a_spot_t-mobile/
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