Ms. Murphy

 Keep strongest light behind camera (at camera person’s back)  Reflectors redirect light  Silk or cloth can diffuse strong light

 Artificial light works best  When artificial and natural light mix, the colors of the lights clash  Using natural light  Overcast days are best  Try not to tape someone in full sunlight

 Pointed directly at the subject and sets the stage for the rest of the lighting  Sometimes casts noticeable shadows, and may need to be balanced out by the other lights

 Used to illuminate the background and wash away any overly harsh shadows that the key light produces  Both fill and back light are often provided by reflectors.

 Adds definition to your subject by shining from the back  Depending on the intensity of this light, the effect can be subtle or dramatic

Too Dark Too Bright

 Use outside lights  Lamps, move location if possible  Physically move  Slow shutter speed  Change Iris  Set Manual normally  Post production  Increase gain – LAST RESORT  Set at 0 normally

 SETTING THE MANUAL EXPOSURE  Set the AUTO LOCK switch into the middle position  Press the IRIS button on the barrel of the lens - the letter F and a number will appear in the viewfinder/LCD.  You can now select the aperture size manually by using the silver IRIS dial.  To return to AUTO mode just press the IRIS button again.

 The shutter, gain and iris all effect exposure. So, if you leave either shutter, iris or gain in automatic - the camera will be changing them behind your back (or should that be under your nose!) which is not a good idea.  Set the shutter manually to 50 (PAL) or 60(NTSC). Only use the shutter for effect.  Gain should be set to 0dB  Expose using manual iris (or in Auto to start with until you get used to the camera). Zebras on 70% with the occasional flick to 100%.