book

Motion Picture and Video Lighting, 2nd Edition

by Blain Brown

November 2012

Intermediate to advanced

272 pages

8h 35m

English

Focal Press

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Controllable LightEarly Film ProductionIntroduction of Tungsten LightingThe Technicolor EraHMI, Xenon, Fluorescent, and LED SourcesKino Flo and LED
FresnelsTungsten FresnelsThe 10K and 20KThe 5KJuniors1K650, Betweenie, and InBetweenieInkieHMI Units12K and 18K6K and 8K4K and 2.5KSmaller HMIsWhen an HMI Fails to FireXenonsBrute ArcOpen-Face LightsSkypan2K Open Face1000-/600-/650-Watt Open FacePAR 64PAR GroupsDino, Moleeno, and WendyMaxiBruteFAYsRuby 7HMI PARsSoft LightsStudio Softs (8K, 4K, and 1K)Cone LightsSpace LightsFluorescent RigsColor-Correct Fluorescent UnitsColor-Correct BulbsCycs, Strips, Nooks, and BroadsMiscellaneousChinese LanternsCrane-Mounted LightsSource FoursSungunsSoftboxesJokersLED PanelsDedo LightsBalloon LightsBarger BaglightScrims and BarndoorsSpacelights and Chicken Coops
What Do We Expect Lighting to Do for Us?Mood and ToneFull Range of TonesColor Control and Color BalanceAdding Shape, Depth, and Dimension to a SceneShapeSeparationDepthTextureExposureDirecting the EyeThe Lighting ProcessThe ProcessWhat Are the Requirements?What Tools Do You Have?What’s the Schedule?What Are the OpportunitiesHow to Be FastLighting FundamentalsThe Basic ElementsQuality of LightHard/SoftOther Qualities of LightDirection Relative to SubjectAltitudeHigh Key/Low Key (Fill Ratio)Specular/AmbientRelative Size of Radiating Source and LensModulation/TextureMovementSubject/Texture

Medieval Knights Around a CampfireThe PlanFlicker EffectGroup Scene with FireScience Fiction SceneFilm Noir SceneAces and EightsDetective SceneYoung InventorMiscellaneous ScenesPotterBeauty ShotPool RoomPool Room CUIntimate Room SceneBlack Cross Keys (Sitcom Lighting)Reality Show SetIn or OutDay ExteriorFrom Under the FloorAmbient from AboveConfessions: Training SceneConfessions of a Dangerous Mind: AlleyCreating an Exterior in the StudioX-Men Plastic PrisonStage RiggingLarge Night ExteriorComplex Stage Set
The Video Engineer and DITThe Waveform MonitorThe VectorscopeIris ControlElectronic PushingWhite BalanceTransferring Film to VideoLighting for Multiple CamerasMonitor SetupMonitor Setup ProcedureThe PLUGECamera White BalanceEstablishing a BaselineThe Test Chart
The BucketF/StopExposure, ISO, and Lighting RelationshipsLighting Source DistanceISO/ASA SpeedsChemistry of FilmFilm’s Response to LightThe Latent ImageChemical ProcessingColor NegativeAdditive vs. Subtractive ColorThe H&D CurveThe Log E AxisWhat Is a Log?Brightness PerceptionContrast“Correct” ExposureBrightness Range in a SceneDetermining ExposureThe ToolsThe Incident MeterThe Reflectance MeterThe Zone SystemZones in a SceneThe GrayscaleWhy 18%?Place and FallReading Exposure with UltravioletThe Shutter
The Nature of LightColor PerceptionThe Tristimulus TheoryThe Purkinje Effect and Movie MoonlightLight and ColorAdditive and Subtractive ColorQualities of LightHueValueChromaColor TemperatureThe Color WheelColor MixingFilm and Video ColorspaceColor Harmonies and Interaction of ColorInteraction of Color and Visual PhenomenaThe Laws of Simultaneous ContrastMetamerismThe CIE Color SystemStandard Light Sources in CIEDigital and Electronic ColorControl of ColorWhat Is White?Color TemperatureColor MetersColor Balance of FilmColor Balance with Camera FiltersConversion FiltersLight-Balancing FiltersCorrecting Light BalanceCTOTungsten to DaylightFluorescent LightingCorrecting Off-Color LightsArcsHMIIndustrial LampsStylistic Choices in Color Control
Measurement of ElectricityPotentialPaper AmpsElectrical Supply SystemsThree-PhaseSingle-PhasePower SourcesStage ServiceGeneratorsGenerator OperationTie-insTie-in SafetyDetermining KVAWall PluggingBatteriesBattery CapacityLead AcidHeavy AntimonyNicadsLi-Ion and NiMhLoad Calculations and Paper AmpsAmpacityColor CodingThe NeutralDistribution EquipmentTie-insBusbar LugsConnectorsBullswitchesFeeder CableWire TypesDistribution BoxesLunch Boxes, Snake Bites, Gangboxers, and Four-WaysExtensionsPlanning a Distribution SystemWorking with AC and DCCalculating Voltage DropVCRElectrical SafetyWet WorkHMI SafetyGrounding Safety
Light ControlsReflectorsOperating ReflectorsFlags and CuttersFlag TricksNetssNet TricksCuculorisDiffusersButterflies and OverheadsGriffsHoldingGrip HeadsClampsStudded C-ClampsMiscellaneous
The DPThe TeamThe GafferThe Best BoyThird Electric and ElectriciansThe Key GripGripsOther CrewsSet OperationsThe ProcessRough-InBlockingLightRehearsalShootingProcedures
Types of Radiating SourcesCarbon ArcTungstenTungsten–HalogenEnclosed Metal Arc: HMIHousehold and Projector BulbsPractical BulbsFluorescent TubesDichroics
Shooting with HMI UnitsThe Power SupplyFlicker-Free HMIsDimmersDimmer Systems On The SetWorking with StrobesStrobe ExposureExposure for MacrophotographyDepth-of-Field in Closeup WorkLighting for Extreme CloseupsUnderwater FilmingEffectsRainSmokeFireTV and Projector EffectsDay-for-NightMoonlight EffectsWater EffectsLightningUsing DaylightLighting for Process PhotographyChroma KeyGreenscreenLighting for Process PhotographyGreenscreen/Bluescreen Tips
Brute Arc OperationInternational Plug and Socket TypesBuilding Your Own Hand SqueezerTypical Lighting Order for a Small Independent FilmLighting Order for a Large Studio Film