? Jarid S. Johnson 2/10/13 SFSU DVI: Lighting 1
LIGHTING Day One:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
1.1 Introduction
? Instructor
o Background.
? Students
o Who are you?
o Your experiences.
o Your current knowledge.
o Why are you taking the class?
o Intentions after completion.
? Intention of the clas
o To give you a clear understanding of the technical and practical aspects of the
lighting as it applies to acquiring original footage for your projects.
o You will have the ability to work competently and confidently with the production
equipment introduced in this class.
o This means getting to know your production equipment thoroughly so that you can
concentrate on the creative aspects of your work.
? Clas overview
1.2 Lighting Basics
? Precautions and safety
o Electricity
o Heat
o Cable management
o Moving the lights
? Power distribution
o Power/volts = amps
? 1000w/120volts = 8.33 amps
o 8 amps per 1000 watts
o For safety, 10 amps per 1000 watts
? Jarid S. Johnson 2/10/13 SFSU DVI: Lighting 2
? Lighting instruments
o Open face
o Fresnel
o Fluorescent
o Ellipsoidal
o Par cans
o HMI
? Three point lighting techniques
o Key
o Fill
o Back
? Lighting filters
o Diffusion
o Color temperature conversion (CTO, CTB)
o Party colors
o Neutral density
1.3 Lighting Hands-On Workshop #1
? Stand, lighting instrument and cable handling
LIGHTING Day Two:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
2.1 Exposure & Latitude
? F-Stops Review
? Exposure
o …is the intensity of light falling on the image plane controlled by adjusting the
aperture of the lens.
? Latitude
o …is the seeing range of the camera; it is the amount the camera can accept over
or under exposure and still render objects with detail.
? Contrast Ratio or lighting ratio
o …is the relative difference in brightness between two parts of a given scene.
? Jarid S. Johnson 2/10/13 SFSU DVI: Lighting 3
? Halving & doubling
o Virtually everything to do with the measurement and transmission of light is
based on halving and doubling.
? Every halving and doubling of exposure represents a one f-stop difference
in light transmission.
? Given a consistent amount of light in front of the camera, every sequential
change from one f-stop to another represents a halving or doubling of the
amount of light reaching the image plane.
? A change from an F4 to an F5.6 allows half as much light to reach the
image plane. A change from F4 to F2.8 allows twice as much light to reach
the image plane.
? Latitude (ratios are not absolute, for demonstration purposes only)
o Any given scene—1000:1 ratio
o Your eye—100:1
? For any given iris opening, but the iris adapts very fast and the brain
interprets signals form the eye in such a way that it can scan an
environment with a much greater contrast range and see it in what
appears to be at one glance
o Film & current video formats —128:1 ratio
? approx. 7 -11 stops or 100+ discernable shades of gray
? Though film stock can have as much as an 11-stop latitude, the ratio is
restricted by the final viewing system; a theatre screen can only reflect so
much light.
o Video (standard definition) —32:1 contrast
? approx. 5 stops or 72 discernable shades of gray
? Again, even though some formats like HiDef are said to have from 9-11
stops of latitude, 32:1 is the brightness ratio available on even the best TV
screen. It is therefore important to light within this ratio if you are going
to view our final material on a monitor.
? Conveniently, 20ire on a waveform monitor equals 1 stop.
o "An image does not need to have the same brightness as the scene it represents; it
only needs to have the brightness relationships within it that are proportional to
those in the original scene."
o Lighting for video simply means adapting to the tonal range available in any
given scene.
? Demonstrate latitude
o The hypothetical streetlight, page 231 of Film Production Tech.
? Scene to scene continuity
o Be consistent with exposure from shot to shot.
? Jarid S. Johnson 2/10/13 SFSU DVI: Lighting 4
? Page 268 of Film Production Tech.
? Lighting ratio
? Exposure Tols
o Video gain is a way to increase the sensitivity of the camera electronically.
? Each increase in 3db gain equals a .5 stop increase in sensitivity.
Remember, as you increase gain, you decrease the signal-to-noise ration,
adding noise to your image.
o Shutter speed
o Neutral density filters
o Zebra settings
? 70% vs. 100%
? 100% for showing brightest highlight in scene, whitest white.
? 70% to set exposure for Caucasian skin tone.
o Auto exposure–pros and cons
? Use manual exposure at all times. As an additional tol, you can use auto
exposure momentarily to see what iris the camera would set. Use this
when you have a fairly neutral scene.
? Other considerations
o The reflectance quality of an object will affect exposure. Lighter objects reflect a
higher percentage of light than darker objects
o Brightness and color affects composition
? The brightest spot in frame will attract your eye; also affected by size of
the objects.
? Some colors, given the same size object, will carry more compositional
weight. More in aesthetics class
o Decide on focus of the shot and set up your constant value or “normal”
exposure.
2.2 Lighting Advanced
? Color temperature
o Tungsten
o Daylight
o Color temperature is measured in degrees Kelvin (named after Lord Kelvin),
which refers to the temperature at which a black body—a surface that does not
reflect light—changes color when it is heated. A piece of iron heated will glow
yellow, then red, then white and finally blue. (Basics only, more during lighting
class)
? A tungsten-halogen bulb creates the same color light as the black body
heated to 3200 degrees. (warmer or more yellow than daylight)
? Average household bulb = approx. 2900 degrees Kelvin. (warmer than
tungsten-halogen)
? Jarid S. Johnson 2/10/13 SFSU DVI: Lighting 5
? Fluorescent light = approx. 4700-4800
? HMI light = approx. 5600-5800 degrees Kelvin. (Hydrargyrum Medium
Arc-length Iodide) This is a daylight source.
? Daylight = approx. 4400-6500 degrees Kelvin depending on the time of
day. (Ave. 5600) (coler or bluer than tungsten)
? Cloudy sky = approx. 6800 degrees Kelvin. (coler or more blue than full
daylight)
? Shade = approx. 6800 plus degrees Kelvin. (coler or more blue than full
daylight)
? Cheating white balance
o You can warm up or col down a scene in two ways:
? Warm up a scene by 1) putting a blue filter (CTB) in front of the lens and
shooting white, or 2) by pointing the camera at blue object. Manually
white balancing the camera.
? Col down a scene by 1) putting a yellow filter (CTO) in front of the lens
and shooting white or 2) by pointing the camera at yellow. Manually
white balancing the camera
o Realize that this will warm or col your entire scene. If you wish to warm or col
selective parts of the scene, use color filters on your lighting instruments. More
on this during our lighting session.
? Beyond Three point lighting
o Scratch
o Set
o Practical lights
? Hard vs. soft light
o See handout: soft & hard light
o Tols for creating soft light
? High key vs. low key
? Inverse square law
? Controling light
o Bounce boards
o Reflectors
o Mirrors
o Wire scrims
o Flags
o Nets
? Jarid S. Johnson 2/10/13 SFSU DVI: Lighting 6
? Creating paterns
? Reflective surfaces
o Controlling reflections
? Angle of reflectance
? Dulling spray
o Using reflections to your advantage
? Natural, motivated lighting
o Lighting sources are motivated by the environment
? Lamps, sun through a window
o Lighting has qualities that exist in the natural environment
? Pay attention to how light play in your world
o Lighting supports the story your are telling
2.3 Lighting Hands-On Workshop #2
? Interview set-ups
o Single camera
o Multi-camera
? Green Screen
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