Text Outline Motion Picture & Video Lighting, 2 nd Edition By Blain Brown Focal Press 2008

1 The History of Lighting –Controllable Light –Early Film Production –Introduction of Tungsten Lighting –The Technicolor Era –HMI, Xenon, Fluorescent, and LED Sources –Kino Flo and LED

2 Lighting Sources –Fresnels Tungsten Fresnels The 10K and 20K The 5K Juniors 1K 650, Betweenie and inBetweenie Inkie

–HMI Units 12K and 18K 6K and 8K 4K and 2.5K Smaller HMIs When an HMI Fails to Fire –Xenons –Brute Arc

–Open-Face Lights Skypan 2K Open Face 1000-/600-/650-Watt Open Face PAR 64 –PAR Groups Dino, Moleeno, and Wendy Maxibrute FAYs Ruby 7 –HMI PARs

–Soft Lights Studio Softs (8K, 4K, and 1K) Cone Lights Space Lighs –Fluorescent Rigs Color-Correct Fluorescent Units Color-Correct Bulbs –Cycs, Strips, Nooks, and Broads

–Miscellaneous Chinese Lanterns Crane-Mounted Lights Source Fours Sunguns Softboxes Jokers LED Panels Dedo Lights Balloon Lights Barger Baglight Scrime and Barndoors Spacelights and Chicken Coops

3 Fundamentals of Lighting p 35 –What Do We Expect Lighting to Do for Us? Mood and Tone Full Range of Tones Color Control and Color Balance –Adding Shape, Depth, and Dimension to a Scene Shape Separation Depth Texture Exposure Directing the Eye

–The Lighting Process The Process What Are the Requirements? What Tools Do You Have? What ’ s the Schedule? What Are the Opportunities? –How to Be Fast –Lighting Fundamental The Basic Elements –Quality of Light Hard/Soft

–Other Qualities of Light Direction Relative to Subject Altitude High Key/Low Key (Fill Ratio) Specular/Ambient Relative Size of Radiating Source and Lens Modulation/Texture Movement Subject/Texture

4 Basic Scene Lighting p 58 –Medieval Knights Around a Campfire The Plan Flicker Effect Group Scene with Fire –Science Fiction Scene –Film Noir Scene –Aces and Eights –Detective Scene –Young Inventor

–Miscellaneous Scenes Potter Beauty Shot Pool Room Pool Room CU –Intimate Room Scene –Black Cross Keys (Sitcom Lighting) –Reality Show Set –In or Out

–Day Exterior –From Under the Floor –Ambient from Above –Confessions: Training Scene –Confessions of a Dangerous Mind: Alley Creating an Exterior in the Studio –X-Men Plastic Prison Stage Rigging –Large Night Exterior Complex Stage Set

5 Lighting HD, DV, & SD Video p 86 –The Video Engineer and DIT –The Waveform Monitor –The Vectorscope –Iris Control –Electronic Pushing –White Balance –Transferring Film to Video –Lighting for Multiple Cameras

–Monitor Setup Monitor Setup Procedure The PLUGE –Camera White Balance –Establishing a Baseline –The Test Chart

6 Exposure Theory p 99 –The Bucket –F/Stop –Exposure, ISO, and LightingRelationships Lighting Source Distance ISO/ASA Speeds –Chemistry of Film –Film ’ s Response to Light The Latent Image

–Chemical Processing Color Negative Additive vs. Subtractive Color –The H&D Curve The Log E Axis What is a Log? –Brightness Perception Contrast “ Correct ” Exposure Brightness Range in a Scene

–Determining Exposure –The Tools The Incident Meter The Reflectance Meter –The Zone System Zones in a Scene The Grayscale Why 18%? Place and Fall Reading Exposure with Ultraviolet The Shutter

7 Theory & Control of Color p 128 –The Nature of Light –Color Perception –The Tristimulus Theory The Purkinje Effect and Movie Moonlight –Light and Color Additive and Subtractive Color –Qualities of Light Hue Value Chroma Color Temperature

–The Color Wheel Color Mixing Film and Video Colorspace –Color Harmonies and Interaction of Color Interaction of Color and Visual Phenomena The Laws of Simultaneous Contrast Metamerism –The CIE Color System Standard Light Sources in CIE Digital and Electronic Color –Control of Color What is White? Color Temperature –Color Meters

–Color Balance of Film Color Balance with Camera Filters Conversion Filters Light-Balancing Filters –Correcting Color Balance CTO Tungsten to Daylight –Fluorescent Lighting –Correcting Off-Color Lights Arcs HMI Industrial Lamps Stylistic Choices in Color Control

8 Electricity p 149 –Measurement of Electricity Potential Paper Amps –Electrical Supply Systems Three-Phase Single-Phase –Power Sources Stage Service Generators Generator Operation Tie-ins Tie-in Safety

–Determining KVA Wall Plugging –Batteries Battery Capacity Lead Acid Heavy Antimony Nicads Li-Ion and NiMh –Load Calculation and Paper Amps Ampacity Color Coding

–The Neutral –Distribution Equipment Tie-ins Busbar Lugs Connectors Bullswitches Feeder Cable Wire Types Distribution Boxes Lunch Boxes, Snake Bites, Gangboxers, and Four-Ways Extensions Planning a Distribution System

Working with AC and DC Calculating Voltage Drop VCR –Electrical Safety Wet Work HMI Safety Grounding Safety

9 Gripology p 173 –Light Controls Reflectors Operating Reflectors –Flags and Cutters Flag Tricks –Nets Net Tricks –Cuculoris –Diffusers Butterflies and Overheads Griffs

–Holding Grip Heads –Clamps Studded C-Clamps Miscellaneous

10 The Team & Set Operations p 190 –The DP –The Team The Gaffer The Best Boy Third Electric and Electricians The Key Grip Grips

–Other Crews Set Operations –The Process Rough-in Blocking Light Rehearsal Shooting –Procedures

11 Lamps & Sockets p 203 –Types of Radiating Sources Carbon Arc Tungsten Tungsten-Halogen –Enclosed Arc: HMI –Household and Practical Bulbs –Practical Bulbs –Fluorescent Tubes –Dichroics

12 Technical Issues p 213 –Shooting with HMI Units –The Power Supply Flicker-Free HMIs –Dimmers Dimmer Systems on the Set –Working with Strobes Strobe Exposure –Exposure for Macrophotography Depth-of-Field in Closeup Work Lighting for Extreme Closeups –Underwater Filming

–Effects Rain Smoke Fire TV and Projector Effects Day-for-Night Moonlight Effects Water Effects Lightning

–Using Daylight –Lighting for Process Photography Chroma Key Greenscreen Lighting for Process Photography Greenscreen/Bluescreen Tips

Appendix p 232 –Brute Arc Operation –International Plug and Socket Types –Building Your Own Hand Squeezer –Typical Lighting Order for a Small Independent Film –Lighting Order for a Large Studio Film