1. Sound and Light Tim Arnold & Martin Phillips Hope University July 2009

5. What is the purpose of lighting? Realist lighting. When successful, actor and set are lit so naturally and unobtrusively that the audience don’t notice the technology which has been used to simulate reality Expressive lighting. This is when the director uses light to set a mood or tone for a scene – or even a “look” to a whole film.

6. How do you set up lighting? Key light. This is the main light used on the set. It will be placed to one side of the camera and directed at the actors it is lighting Fill light. This is placed on the other side of the camera from the Key light and is not as powerful. It takes out some, though not all, of the shadows created by the Key light Back light. This is placed behind the figure. It defines the figure’s outline and separates them from the background to give a more three dimensional effect to the shot

7. Planning your lighting High Key: This type of lighting makes the shot look very bright overall with small areas of shadow. So a bright sunlight (though not necessarily sunlit) outdoor shot would be high key  Low Key: The shot looks dark overall with few areas of highlight. Night shots or interiors are often low-key. There may be one section of the shot which is quite brightly lit while the rest is in deep shadow.

8. The Video Making Toolit

9. Sound is often an afterthought (or no thought!) in student productions

10. ` At its peak, 12-15,000 sales a year 2009 - 2,000 sales a year 60% of products sold still have CD and cassette – coming down 10% a year

11. Reel to reel tape recorders Cassette tape recorders CD recorders Digital audio tape (DAT) recorders Mini disc players and recorders Hard disc recorders – which will record in a number of different formats, transfer to computers and other devices MP3 player/recorders/iPods Mobile phones Computers and PDAs

12. If possible, use the most appropriate microphone Get the best results from whichever microphone you are using

14. Voices in texts Roland Barthes contends that what he calls “the grain of voice” exceeds the verbal meaning of a text. It is not just how well you capture the sound technically: it is how much thought goes into the pace, volume and intonation of the performer