Basic terms and concepts Photography is … Inverse Square Law Color Temperature Mixing light sources Filters (in camera, light mounted, window mounted) Needs of camera / mood of shot / invisible 3 point lighting (background, kicker) Flat lighting, 2-point?, bounce? Typical equipment Spot or flood Quartz, HSF, HMI, or LED (3200 or 5500) Grid or light stands – TV news, light stands

Reality check We covered sequencing. You must shoot & edit matched action sequences. We covered framing and point of view. you must have correct framing and point of view. We covered close miking and on camera light required for interviews and stand ups. Overall, grade = you apply what we cover More about lighting and audio / sound

Light: we’re thinking about… Equipment, what you use ...... And Aesthetics, how you make it look Adjust it for the camera’s needs and what impact you want for the audience NOT, what your eyes see

Three point lighting Key --spotlight -- 35-40° angle Fill -- flood or spread spot (1/2 the key) Back --spotlight (1.5-2x the key) (’hair light’) Subjects and foreground Compare to background -- also important Separate subject from background Kicker --comes from the side over the camera left shoulder of the subject (added to 3-point lighting) External lights must be eliminated / mixing light sources

Basic terms and concepts Incident light – direct light, from the source to the subject Reflected Light – bounced, reflected before it reaches the camera’s sensor (or your eyes) Light meter: incident, spot / reflected Camera lens projects light to the focal plane, in the case of video cameras, the chip(s) Single chip / mosaic filter Three chips / beam splitter (RGB)

Lighting issues 1--Contrast Ratio: brightest to darkest: human eye 100:1, TV 30:1 Sports Stadium daytime shots (shader) Monitors and adjusts the iris opening AGC automatically adjusts 2--Color Temperature: measure of the frequency of the light wave 3,200° K / 5,500° K / red / blue Random room lights

Basic terms and concepts Invisible Mood fits content Level of work to make it look ‘natural’ In cinematography, DP For videographer, camera settings plus light in scene There’s always light there Color temperature Light levels Using light in scene plus your light(s) Cannot open up iris to compensate for bad lighting Hard or soft Key, soft box, reflected light / bounced light

Key to Effective Lighting: Shadow Shadow gives images form, weight, texture, mood, depth. Also reveals spatial relationships. Never point the camera toward the light BLC in camera menu How do you compensate for light coming from behind? Light usually above, not at eye level Note in upcoming samples

News field lighting Single camera, on camera light Light kit Always on interviews Flat lighting (see the subject’s face) Inverse square law, camera / subject distance Light kit Dark location shooting, flood Interviews: 2 point lighting B-roll, event, scene: Interference with event camera adjustment Find something else to shoot

News field lighting “I really want that shot” – But … “me in front of the lake with the PAC in the background” has me back lit. The light ‘must be in the subject’s face.’ What do I do? Move somewhere else—you won’t get the shot you want. Same issue with noisy environment and an interview or stand up …

Key to Effective Lighting: Shadow Shadow gives images form, weight, texture, mood, depth. Also reveals spatial relationships.

3 considerations before lighting Key light placement – 180 degrees around subject – normal is 45 degrees to subject’s left Quality of light – hard or soft Shadow treatment – low key or high key

Separate the subject from the background !

3 results of light hitting object Catch lights in subject’s eyes

Typical 3 point lighting diagram

3 Attributes of Key Light Primary source of illumination Primary factor of overall exposure Determines placement and quality of shadow

Quality of Light Refers to hard or soft quality of light “Pin” or undiffused sources create hard shadows that fall off sharply (fresnel) Soft light is created by using large sources of diffused light. Determined by two attributes Large source Relatively close to subject (inverse square law)

Floor plan of interview Key Light Possibilities

Subject lit from 3:00 Position 90 degree angle to subject

Subject lit from 4:00 Position

Subject lit from 5:00 Position Between 4:00 and 5:00 is 45 degree angle to subject

Subject lit from 6:00 Position Flat lit

Diffused Lighting Flat lit

Check the eyes Catch lights show proper placement Broadlighting: when the key light shines of the side of the face closest to the camera Short lighting: when the key light is on the side of the face opposite the camera; the camera is on the fill or shadow side

Short lighting Side of face toward camera is shadow

Broad lighting – side of face toward camera is lit

Functions of Fill Light Fills shadows created by key light Does not create new shadow

Adding Fill for Portrait Lighting

Fill Light Without Fill With Fill Notice no new shadow

Backlight Hard backlight Soft Backlight

Background With Background Without Background

Hard vs. Soft Key Light Hard Soft

Relative Distance of Soft Light Source Close Far

Lighting Dark Skin with Large Sources of Light Pin Light Source Large Diffused Source

What’s wrong with this setup? One Light Setup Use available Light from existing window What’s wrong with this setup?

One-Light Setup Available Light One-Light Setup

One-Light Setup Light directly in front Short Side of Face Short lighting

Color Balance Color Temps Mixing Key light with color correction

Warming the Scene Normal Color Balance Tricking Camera to Produce Warmer Tones

Using Backlight as Key

Use Large sources for Specular Reflections

Backlight as Key Creates Form, Depth, Dynamic Images

Lighting effects Silhouette – back lit

What does this communicate? Lighting effects Silhouette – back lit What does this communicate?

Lighting effects Cameo: spot on subject, dark background

Lighting effects Limbo: softly lit (white) background

Camera Indoor, outdoor, automatic Manual vs. automatic (of anything) Size of chip Camera to subject distance Light to subject distance

Lighting Instruments ‘lamp’ not ‘bulb’ Quartz lamp 3,200° K 500 / 1,000 / 2,000 watts / 10,000 New High Speed Fluorescent (HSF) Traditional / HSF at 3,200° K HMI lamp -- 5,500° K (hydrogen medium-arc-length iodide lamp) LED – lower wattage for same illumination

Lighting Instruments Spotlights Other standard spotlights Controlled beam / pinned & spread Fresnel Other standard spotlights Ellipsoidal / leko cutters / blackwrap / flags cookies / cucalorus Barn doors / light pole / light stand C-stand, mafer clamp

Lighting Instruments Floodlights Sometimes covered with scrim or gels Pans/broads --rectangular shaped Scoop -- Bowl shaped Strip lights for background Softlight -- bulb points inward Sometimes covered with scrim or gels ####