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Lights Lights

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Submitted By tieshia18
Words 1991
Pages 8
Quantieshia Brown
Capstone Research Paper
Ms. Pierce/Mr. Gross
23 March 2011
Lighting: The Way it Affects a Movie Set
Lights! Lights! And More Lights! While on a movie set for any show, cinematographers are artists that paint motion pictures with light (Murphy 1). They must know that lighting is their main concern while in production. No matter if there is too much or too little lighting, lighting must always be controlled (Morales). In order to solve the problem of faulty lighting, cinematographers should know when lights should be used, where it should be placed, and who it should be focused on; therefore, they must communicate with the director and the lighting engineer at all times because the lighting sets the mood for the image (Morales). There are many techniques that a cinematographer works with and people wonder how. An example is that most people wonder how cinematographers control their lighting while indoors when the subject is placed by a window.
If subject is in front of a window and there is too much sunlight, take some aluminum foil wrapped around a piece of cardboard and turn it towards the subject so the light will reflect on the person face which will act as a key or filled light. If there is another light around, put it a little closer to subject and the reflected light will act as the backlight to make it seem as three-point lighting (“Lighting Tricks and Solutions”).
The need for this type of lighting is to make the subject’s face is clear and visible. If the light from the window is shinning on the subject too much, it can cause the person’s face to be too dark. Having the cardboard wrapped in aluminum foil to reflect the light makes it look very professional as a backlight. Not only a board wrapped in aluminum foil can be used as a reflector during production; a white foam board is used also to reflect light to help unnecessary lighting bounce off (Ste Nelson).
Cinematographers also use over cast days which means they do not wait for the sun to arise because it can destroy the person face for that shot. Overcast days are when it is breezy and cloudy. Using over cast days can help use gentle lighting and the white balance can be controlled properly Steve Nelson).
“Many cinematographers believe that lighting is the most important task, and happens before an image is captured by a lens or when the director shouts Action” (Patrick 2). To create professional lighting, one does not always need high tech equipment. The lighting technique comes from one’s mind and the way that person pays attention to things. While recording, always look through the view finder to make sure the lighting produces the effects to have the audience feeling a certain way. If unsure how the mood of the image should be set, contact the director to ensure that the lighting is correct and that is how the director wants the audience to feel. In order for the audience to receive a clear view of what the program is about, the lights have to be set a certain way. Having color gels can help retrieve different moods and change color temperatures for the image (Steve Nelson). No matter if it is a standard motion picture or a television program, the subject’s lighting contrast is still required to maintain the director’s vision and reaction from the audience (Freud 2).
This is why communicating with the director and lighting engineer is most important through the entire production and cinematographers must understand that. Consequences for not having that type of relationship with the director can lead to a messy film and poor collaborations. Murphy says that Darius Khondji states, “He sees his job as helping the director realize what his film is about” (Murphy 3). No matter what goes on during production, cinematographers must have that bond with their director especially when it is time for constructive criticism and/or rejection. Without the cinematographers’ talent, knowledge, and bond with the director, the writer and director words will not be put into pictures for everyone to see. This is why the cinematographer works close with the director in order to set the proper lighting mood for each shot (Filmmakers.com 1). If the cinematographer is not working closely with the director, the image will not be seen, meaning, the lighting will be off and the director’s vision is not set. This is where the difference between amateur lighting techniques and professional lighting techniques are seen. Amateurs do not have a cinematographer to show them how the lights should be set up to bring out an image whereas a professional works with their director and knows which light should be placed where and the image is set. If a professional cinematographer have a problem with the way the lighting is arranged, one can talk with the person over them and have the lights situated in the right place. Goldman understands to ensure that the set of lighting was motivated properly, special care is to be taken to be sure everything ends well (Goldman 2).
There are a lot more jobs lighting can do for a cinematographer which are separation (making the subject stand out from the background), texture, and exposure. None of this matters if the exposure is not correct (Brown 37).
“Lighting should be arranged in such a way to leave darkness between the area illuminated by the backlight and the area illuminated by the fill light depending on how moody you want the shot to be” (Video Filmmaker 2). In certain shots, if the subject’s face is evenly lit but standing next to a dark wall, the sense of realism is lost and there will be a big shadow which would cause the contrast to be lost (Silver 2). This means that the total exposure is gone, the scene is lost and does not mean anything anymore or the contrast of the image will be off. To help an uncontrolled image no matter if it is about the contrast, exposure, or anything that is hardcore to the image of the person or thing, it is great to use diffusion which eliminates hot spots. The further away diffusion is from the light, the more ones lighting will be spread out and back on track to a controlled lighting segment (Steve Nelson). “To avoid the possibility of having problems like these, the safest way of lighting a set is to use a flat light which is a high key light (Issue 6). This is why it is good to avoid lighting your subject directly from the front with a single light source” (Film 2).
Here’s the trick: when covering a scene with a shot and reverse shot, instead of moving the camera and lights, simply switch the actors around and move the camera to the other side of the eye-line, in order to maintain the correct eye-line relationship. This allows you to use the same lighting set-up for two or more pairs of shots. This technique saves a huge amount of time (Film 2). Nighttime lighting can be very hard to manage at times. This is where a cinematographer really needs to use a brain.
There are three very important rules while shooting at night. First rule is to shoot at a wide angle in order to receive more light into the camera. Second, always watch out for the video gang. Too much gang can cause noise and cause the colors to desaturate. Finally, have the camera in manual focus. The camera in automatic can cause the focus to drift away and get something that is not relates to the scene. Having the camera in manual will lock the focus you want to use (Montgomery). Shooting outdoors at night can cause the image to become harsh because you have different lamps and the car lights lighting up the image. If one expects the scene to appear right, try using a pool of light instead of lighting the whole scene. Doing this can help the scene look practical and realistic (Montgomery). Overall, cinematographers control almost everything during production no matter how big or small it is. From lighting to editing, to producing to directing, the cinematographer is responsible for bringing the big picture at the end of the day. Having the ability to be quick and able to improvise through things is very important. In actuality, during rehearsal or while on the set, that is when all the ideas come to mind and is set in place (Zsigmond 2). This is why most cinematographers I see on television let their actors move around on the set in order to receive collaborative ideas while rehearsing. John Murphy feels that cinematography is not just looking through a camera shooting a picture; it is having a keen eye and a creative imagination (Murphy 2). Not only having a great imagination but being able to light a film shot by shot just in case the camera has to be relocated to shoot a different angle is also important (Film 2). Directors expect professional cinematographer to be on top of everything controlling the cameraman, gaffer, lighting engineer, and best boys. In both film and video production lighting is the key source to everything. Without having lights, production cannot go on. Working with the director and lighting engineer helps cinematographers to bring out the best performance while work on the set. Without communication and a positive attitude, the film can turn out to be messy and the directors’ image is lost. Understand that this is why most directors want people who have a creative imagination for anything to bring to life. Cinematographers are the most important people you can find on a movi9e or television set because they are the people who understand where the director and writer is coming from better than anyone else. Making sure the lighting is controlled properly, the contrast is set to a specific amount and knowing what they should do next are great qualities a cinematographer should have. One always remembers that the most important thing during production is to have Lights! Lights! And More Lights but not too much because it will take the sense of realism off. With all of this problems and solutions, one recommend that people who would love to become a cinematographer should follow these solutions for each problem. No matter if it is a community project or a project for school, always make sure that you follow the directors’ orders and the film and lighting will be great. If a person does not follow the directors’ order, there will be an unorganized film along with lot disagreements.

Works Cited
Brown, Blain. Motion Pictures and Video Lighting 2nd Edition. Burlington, M.A: Elinor Actipris, 2008.
Brown, Quantieshia. Personal Interview. Larry Morales. 30 September 2010.
Brown, Quantieshia. Thanks. Larry Morales. 30 September 2010.
Filmmaker.com. John R. Murphy. 2000-2009. 20 December 2010. http://www.filmmakers.com/features/cinematography/cine.htm
Freud, Karl. Filming the “Lucy” Show. December 1953. 19 November 2010. www.cinematographers.nl/GreatDoPH/Extra/Freud-tv.htm
Goldman, Micheal. With Friends Like These. October 2010. 19 November 2010. www.theasc.com/ac_magazine/october2010/thesocialnetwork
How To Use Night Lighting In Videos. Dir. Mark Montgomery. Perf. Mark Montgomery. Youtube, 15 May 2009.
Keating, Patrick. The Art of Cinematography. January 2010. 14 March 2011. http://www.trinity.edu/departments/public_relations/magazine/issues/10_January/cinematography.htm. Lighting Tech. Part 1. Dir. Steve Nelson. Perf. Steve Nelson. Youtube, 18 April 2008.
Silver, Daniel. The Gaffer’s Role. 2008-2010. 19 November 2010. www.christian-movie.com/gaffer
Some Final Issues “Cyber College.” 1996-2010. 4 March 2011. www.cybercollege.com/tvp036.htm.
Stroller, Michael. Filmmaking for Dummies. Willey 2003.
VideoFilmmaker. Film Lighting Tips. 2007. 4 March 2011. www.lavideofilmmaker.com/film-lighting-tips.html.
Zsigmong, Vilmos. Interview. Master of Lighting. October 2004.

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