The Magic of Movies

A book light is a bounced light and diffused light combined. The book light was designed to take up less space than standard diffusion. Two methods of softening result in a more indirect light source. You can use light for a book light. The first step to setting it up is set up a bounce. Clamps are great for mounting bounces on stands. The second step is you're goin to want to set up your light. You don't actually want your light fixture blocking any of the bounce light so you could lower it and then reflect light up or you can do what we did and take it out to the side and bounce it at a particular angle the next step is to set up your diffusion. For a layer of diffusion by just using magic cloth you then position the c-stand correctly.

The first key step with a c-stand is to go over some standard safety rules. Make sure it's stable and if needed add a sandbag to weigh it down and prevent it from falling. The base has it's turtle legs and variants you can see they're at three different heights. You have a low one all the way to the ground you have a middle one you have the tall one you set the sandbag like previously said. All the weight will be pressing out if you have something heavy above. You press the leg's and its not going to go sideways the big leg on the c-stand is the support. The knuckles you have to remember to tighten them and position them correctly when placing something else like a silk sheet etc. 

Front lighting is pretty much what it sounds like: The light coming from in front of the subject. Relative to the camera. A few things to note here since the light is coming from the front, there is minimal to no shadow cast on the face. This also explains why front lighting is also often called "flat lighting." But when you throw a little height into the equation, we already begin to see changes. Shadows are immediately brought out, but they are still fairly minimal. If you push it even further so the light is no longer frontal, but directly overhead, shooting down that is called top light. Shadows are cast dramatically downward, creating larger and deeper shadows under the brows, the eyes, nose, and cheeks, leaving only the top of the brow the nose and the cheekbones are highlighted. What's more unsettling here is the eyes are cast in shadow. Once the light is almost directly below, the jaw, nostrils, lower cheeks, and the skin under the eyebrows are all illuminated. Th...

The before and after images look different, but more importantly, at least from a filmmaking perspective, each one conveys a vastly different tone and range of emotions. As an audience we percieve the individualls in these photographs as two completely different people, each with differing psychologies and motivations. Despite the fact that we know nothing about them. The difference in shadow adds a heavy dramatic look. It's a little more disturbing and dark and can sort of come off as unsettling. To add on to that the article supports my claim "bright-eyed and full of life. In the bottom photograph, however, something more sinister seems to be at play. It's the look of someone deeply troubled, tormented, and on the edge of doing something terrifying."

 Solids or flags are basically frames all different sizes  and the material used on them it's the exact same Duvatyne however are identified as 2x3. Somebody asks for either a topper or a bottomer or cider. A topper is basically taking the solid and moving it just in front of the light right above the beam this would be used if you're trying to have your subject lit. Three key things I learned were for a solid flag and overhead rigging you can use type of solid flag as long as it's giving you the effect that you want. Secondly you also have to specify a flag inside of that term for example you have to say meat axe flag. Third and lastly is that you can't just say meat axe if you ask somebody it's actually a piece of hardware. 

Rembrandt lighting is named after Rembrandt Van Rene who aside from being tied with Van Gogh. Rembrandt setup a row of windows above eye level letting sunlight in onto a subject's face while a white wall opposite reflects the light back and fills in some of the shadows. If theres a shadow of a persons nose under their eye it's Rembrandt lighting. Once you see the triangle once you'll see it everywhere. It's a really handy thing to be able to create as it looks good on most people and its not very hard to do. It can also give your images some depth as the shadows on your actor's faces or to get more fancy with it is Chiaroscuro which is the use of deep variations in gradations of light and shade: Rembrandt was a master of Chiaroscuro. You can technically create this kind of light with one light and a reflector. You can also do this light with a third light for fun. 

Davinci and other painters discovered that there are shadows to different planes in their images and that they were able to add the illusion of dimensional depth. This innovative lighting technique is known as "kiuru" in Italian that means light and dark. The Chiaroscuro technique was created and it is still widely used to produce quality images in photography cinematography and television. Now, how the chiaroscuro technique work is this it can first be started off with a base that has single light source placed at the camera's object appear like a circle it has no roundness or depth the moment that we bring the light around we start creating a model and it eventually starts to show its spherical dimension. Everything else is dark and you can start relecting that bit of light to give it that round look. 

The lumen is the unit of a luminous flux, a measure of the perceived power visible light emitted by a source. Luminous flux differs from power, which encompasses all electromagnetic waves emitted. A foot-candle is a unit measurement for light intensity, or illuminance. It's used to measure how much light falls on a surface, and is commonly used in the lighting industry. Lux is a measure of illuminance, the total of light that falls on a surface. The closer to the light source, the higher the lux reading. This is due to the dispersion of light as one moves away from the light source. This could affect my understanding by sort of giving me knowledge of when I see specific lighting. 

Lighting Ratio's are something cinematographers and gaffers use to keep track of lighting setups across different shooting days when they're shooting a film. It also refers to the comparison of the main source of light from which shadows fall to the light that fills in shadow areas. Contrast ratio refers to the difference in the amount of light between the light coming from your key light and your fill light. The higher the ratio not bigger the difference between key and the fill is the more dramatic and noir-ish it looks lower the difference if you get the same amount of light from the key and fill the flatter it's going to look and the more it's going to look like you're shooting a sitcom. 

 A clear theme in film noir is the use of hard shadows. You'll usually know when your light needs to be up fairly high. Because the shadow is smaller, you know that their light is more in front of the actors, rather than to the side, where there would be a lot more shadow. So based on that, you set up your light directly in front of your nose. You want to convince the light in the scene is coming from the light so you dim it. You get the same exposure overall, but you can actually see that light is coming from the practical lamp, it's motivated. You'll want less light on the desk, and you'll want to pan your main light to the right, so the beam is more focused on your character. The only struggle I noticed from the presenter was focusing on the subject while the light shined brightly. 

 Three key concepts I learned about noir lighting was lowkey lighting which a style called Chiaroscuro in the art world. Chiaroscuro emphasized shadows and harsh lighting to create a sense of depth and volume in paintings. Cinematographers working in the classical film noir era sought to do the same thing. It was trying to overcome the bland flatness that bright black and white film could have if there's not much contrast. A second key point was traditional three point lighting setup that is the fundamental system all filmmakers learning how to light will start with. Fill light is the opposite of the key light to fill in some of the shadows left by the key. The final light of the three point setup is the back light. This adds adds an outline to separate light of the three point setup is the back light. 

Reflected into film noir with a downbeat tone and a very melancholy atmosphere the genre shifted in the 1950's to embody more espionage and deceit which is obviously a reflection of the Cold War. There was also paranoia that was felt because of the Red Scare some people like to say that film wars ended in the late 1960's. In the late 1950's but film wars continued to be made up to the day so I like to say that as long as the films are being how could the genre be dead for the rest of the 1960's, 70's, 80's and 90's and into the 2 Century we have continued to see film be that reflect the social norms of these times where they were made. 

Some key features of a protagonist and are ex convicts, screenwriters and hitmen film noir is a genre about the fall of a character and the detoration of their morals. The next perfect example of this would be one of Billy Wilder's masterpieces Sunset Boulevard. In that film it follows a screenwriter Joe Gillis who is struggling to make end meets in Hollywood becuase of debt he is forced to go on the run from local authorities and hide out in an aging silent film. Some key features of a femme fatale is she doesn't play by the rules, she uses her beauty to an advantage, she goes against whats expected.  

The removal of color can be a tool to emphasize other aspects of the story. It can show you pretty incredible things otherwise. Things you may have not noticed that might define the very essence of what cinema is. Black and white can heighten those levels of realism that you might have not felt before in comparison with a film in color. Why might that might be? Well as I previously mentioned in my other blog its because black and white is an example of binary. Which means relating to, composed of, or involving two things or something simply having two parts. Black and white is set in stone and it's down to the core of dark, gloomy, sad, and angry. It lets you escape into new worlds and see things in new ways. It heightens that sense of realism because it gives that very dramatic serious feel. 

German Expressionism was an artistic movement in the early 20th century that emphasized the artist's inner emotions rather than attempting to replicate reality. The German expressing movement was initially confined to Germany due to the country's isolation during World War I. International audiences and appreciation for German cinema began to grow as anti-German sentiment decreased following the end of World War I. Black and white enhanced it by giving it a more strong artistic style and sort of its own genre feel. Black and white often is associated as a strong binary where its usually right and wrong. Black and white feel simply sad and dark. So it can for sure be used to convey that sad mysterious dark tone in your film especially if you're going for a more serious look. 

The inverse square law states that for a point source of wave that is capable of radiating omnidirectional and with no obstructions in the vicinity, the intensity decreases with the square of the distance. It's capable of radiating omnidirectional with no obstructions in the vicinity (free field conditions). It puts out a certain number of light rays that are going to hit that subject now if we move our light source further away those same light rays are spread over a much larger area and therefore we have fewer light rays falling onto our subject this light falloff happens. It affects your lighting scene in terms of proportion and the square of distance. It about distance because it also measures how much exposure is going into it.