Media Production

Media Production Richard Trombly Contact : Email : richard@trombly.com Wechat and phone: +86 13818837641

Introduction Lighting The lens is your brush Light is your colors

Lighting Modern DSLR have a CMOS sensor that is much more sensitive to light than the former CCD sensors. Many have full-frame sensors that are very responsive to light. So even in low light , natural lighting conditions, you can capture an image

Lighting But Just because you can, does not mean it is good cinematography Faces will often be hidden and especially the eyes- an actor's most powerful tool, may not be clearly visible. I almost always use at least a small LED light panel to cast a little soft light on the subject's face or a reflector on bright days .

Lighting Temperature Source 1,700 K: Match flame 1,850 K: Candle flame, sunset/sunrise 2,700–3,300 K: Incandescent lamps 4,100–4,150 K: Moonlight 5,000 K: Horizon daylight 5,500–6,000 K: Vertical daylight 6,500 K: Daylight, overcast 15,000–27,000 K Clear blue sky

Lighting Open faced “redhead” Fresnel

Lighting Kinoflow LED

Lighting Open face An open faced lighting fixture is used to create hard light that casts hard shadows. It is not much more than a housing and reflector for the bulb, and provides nothing in between the bulb and the subject. The commonly known 800W “Redhead” is common in low budget video

Lighting Fresnel A Fresnel lens is a special type of lens that is divided into concentric circles, resulting in a much thinner lens than a conventional lens of the same power. This lens evens out the light and allows for the beam to be varied from flood to spot by changing the distance between the lamp/reflector unit and the lens. Usually HMI bulbs

Lighting Flourescent The color temperature of a fluorescent can vary also from 2700K to 6500K depending on the phosphor mix. They produce a soft and even light and can be used in relative close proximity to the subject. Fluorescent lighting is often used to light interiors and has the advantage of being more compact and cooler

Lighting LED stands for light emitting diode and is a solid-state semiconductor device. Only recently, LED’s of sufficient power have become available to make practical LED film lighting possible. LED’s are extremely efficient but are still limited in overall light output when compared to any of the other light sources. Great in a microbudget film-maker's toolbox

Lighting HMI stands for Hydrargyrum medium-arc iodide and is a metal-halide gas discharge medium arc-length lamp. A HMI bulb contains mercury vapor mixed with metal halides. An electrical arc between two electrodes excites the mercury vapor and metal halides resulting in a very high light output and luminous efficiency.

Lighting HMI are the industry work-horse. These are what you will see on commercial movie sets and advertisement shoots. The mix of gases in a HMI bulb emit a 6000K color temperature light, closely matching natural sunlight. High frequency offers a flicker free light.

Lighting Practicals A practical light is any light source that will appear in the scene. such as a table lamp, any visible interior light sources, even a flashlight. Often existing bulbs are swapped out for desired temperature and contrast ratios.

Lighting Practicals are often used to justify the cinema lighting. Audience will “believe” the lighting on screen is natural if they see lights turned on.

Lighting Soft box A soft box is a type of photographic lighting device, one of a number of photographic soft light devices. All the various soft light types create even and diffused light by directing light through some diffusing material, or by "bouncing" light off a second surface to diffuse the light.

Lighting Soft box

Lighting 3 point 5 point

Lighting 3 point Key Fill Back

Lighting Key Light is the main light. It is usually the strongest and has the most influence on the look of the scene. It is placed to one side of the camera/subject so that this side is well lit and the other side has some shadow.

Lighting Fill Light This is the secondary light and is placed on the opposite side of the key light. It is used to fill the shadows created by the key. The fill will usually be softer and less bright than the key. To achieve this, you could move the light further away or use some diffusion. You might also want to set the fill light to more of a flood than the key.

Lighting Back Light The back light is placed behind the subject and lights it from the rear. Rather than providing direct lighting (like the key and fill), its purpose is to provide definition and subtle highlights around the subject's outlines. This helps separate the subject from the background and provide a three-dimensional look.

Lighting 3 point 6 point Key Key Fill Fill Back Back Set /background Hair Accent- Eye/facial

Lighting 5 point Light. (Can add Other accents)

Lighting 2 point Light. (limited Resources or documentary)

Lighting 1 point Light. Rembrandt

Lighting

Lighting Open face An open faced lighting fixture is used to create hard light that casts hard shadows. It is not much more than a housing and reflector for the bulb, and provides nothing in between the bulb and the subject. The commonly known 800W “Redhead” is common in low budget video

Introduction Colors Painters might know that IN PAINT you can make other colors from the primary colors Red blue and yellow And that all those colors make black IT IS DIFFERENT WITH LIGHT

Introduction Colors In video and film The colors are RGB Red Greed and Blue together = white Red+ blue = magenta Blue + Green = cyan red+green = yellow

Introduction Subtractive Colors magenta cyan yellow Magenta = white - green Cyan = White – red Yellow= White - blue

Color Colored lights Colored filters

Color Hue – the base color Saturation – this can be seen as the absence of white Less saturated colors have less white, saturated colors are very pale – in the extreme – almost monochrome {B&W}

Color Standardization of color reproduction What you shoot is not necessarily what you get. Each transfer of the data between systems or transcoding formats and output from post production can cause changes to color.

Color Methods to preserve color consistency Color bars can be added to the front of a tape or video files to standardize the adjustment of monitors in post production. Copying should not be a problem with digital files.

Color Vectorscopes

Color Vectorscopes In this case, the direction Off-center is the HUE And the amount of offset represents the saturation

Color Color correction tip Shooting a color scale In this case , the man looks sickly Yellow, the color Scale helps Standard it

Color When using colored lights Gels etc It helps to shoot a grey card first under normal light and then with the effect on This clearly shows the intended lighting effect.

Filters Filters can reduce glare, reduce contrast and reduce haze as well as provide for various lighting effects. DSLRs can use the same filters that are used for stills photography. *See attached information on filters.

Gels Gels - Colored Gelatine can be used to give color correction on set and develop a lighting mood. CTO color temperature orange – warmer CTB Color Temperature blue - colder Redder lights have a lower color temperature Blue or white lights, a high temperature

Gels Minus green – as it says – reduces the greenish tint that can come from fluorescent sources

Gels Minus green – as it says – reduces the greenish tint that can come from fluorescent sources Plus green allows you to may you sources match florescent lights you can not turn off [ and color correct in post ]

Gels

Media Production