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Text Outline. Motion Picture & Video Lighting, 2 nd Edition By Blain Brown Focal Press 2008. 1 The History of Lighting. Controllable Light Early Film Production Introduction of Tungsten Lighting The Technicolor Era HMI, Xenon, Fluorescent, and LED Sources Kino Flo and LED.

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  1. Text Outline Motion Picture & Video Lighting, 2nd Edition By Blain Brown Focal Press 2008

  2. 1 The History of Lighting • Controllable Light • Early Film Production • Introduction of Tungsten Lighting • The Technicolor Era • HMI, Xenon, Fluorescent, and LED Sources • Kino Flo and LED

  3. 2 Lighting Sources • Fresnels • Tungsten Fresnels • The 10K and 20K • The 5K • Juniors • 1K • 650, Betweenie and inBetweenie • Inkie

  4. HMI Units • 12K and 18K • 6K and 8K • 4K and 2.5K • Smaller HMIs • When an HMI Fails to Fire • Xenons • Brute Arc

  5. Open-Face Lights • Skypan • 2K Open Face • 1000-/600-/650-Watt Open Face • PAR 64 • PAR Groups • Dino, Moleeno, and Wendy • Maxibrute • FAYs • Ruby 7 • HMI PARs

  6. Soft Lights • Studio Softs (8K, 4K, and 1K) • Cone Lights • Space Lighs • Fluorescent Rigs • Color-Correct Fluorescent Units • Color-Correct Bulbs • Cycs, Strips, Nooks, and Broads

  7. Miscellaneous • Chinese Lanterns • Crane-Mounted Lights • Source Fours • Sunguns • Softboxes • Jokers • LED Panels • Dedo Lights • Balloon Lights • Barger Baglight • Scrime and Barndoors • Spacelights and Chicken Coops

  8. 3 Fundamentals of Lighting p 35 • What Do We Expect Lighting to Do for Us? • Mood and Tone • Full Range of Tones • Color Control and Color Balance • Adding Shape, Depth, and Dimension to a Scene • Shape • Separation • Depth • Texture • Exposure • Directing the Eye

  9. The Lighting Process • The Process • What Are the Requirements? • What Tools Do You Have? • What’s the Schedule? • What Are the Opportunities? • How to Be Fast • Lighting Fundamental • The Basic Elements • Quality of Light • Hard/Soft

  10. Other Qualities of Light • Direction Relative to Subject • Altitude • High Key/Low Key (Fill Ratio) • Specular/Ambient • Relative Size of Radiating Source and Lens • Modulation/Texture • Movement • Subject/Texture

  11. 4 Basic Scene Lighting p 58 • Medieval Knights Around a Campfire • The Plan • Flicker Effect • Group Scene with Fire • Science Fiction Scene • Film Noir Scene • Aces and Eights • Detective Scene • Young Inventor

  12. Miscellaneous Scenes • Potter • Beauty Shot • Pool Room • Pool Room CU • Intimate Room Scene • Black Cross Keys (Sitcom Lighting) • Reality Show Set • In or Out

  13. Day Exterior • From Under the Floor • Ambient from Above • Confessions: Training Scene • Confessions of a Dangerous Mind: Alley • Creating an Exterior in the Studio • X-Men Plastic Prison • Stage Rigging • Large Night Exterior • Complex Stage Set

  14. 5 Lighting HD, DV, & SD Video p 86 • The Video Engineer and DIT • The Waveform Monitor • The Vectorscope • Iris Control • Electronic Pushing • White Balance • Transferring Film to Video • Lighting for Multiple Cameras

  15. Monitor Setup • Monitor Setup Procedure • The PLUGE • Camera White Balance • Establishing a Baseline • The Test Chart

  16. 6 Exposure Theory p 99 • The Bucket • F/Stop • Exposure, ISO, and LightingRelationships • Lighting Source Distance • ISO/ASA Speeds • Chemistry of Film • Film’s Response to Light • The Latent Image

  17. Chemical Processing • Color Negative • Additive vs. Subtractive Color • The H&D Curve • The Log E Axis • What is a Log? • Brightness Perception • Contrast • “Correct” Exposure • Brightness Range in a Scene

  18. Determining Exposure • The Tools • The Incident Meter • The Reflectance Meter • The Zone System • Zones in a Scene • The Grayscale • Why 18%? • Place and Fall • Reading Exposure with Ultraviolet • The Shutter

  19. 7 Theory & Control of Color p 128 • The Nature of Light • Color Perception • The Tristimulus Theory • The Purkinje Effect and Movie Moonlight • Light and Color • Additive and Subtractive Color • Qualities of Light • Hue • Value • Chroma • Color Temperature

  20. The Color Wheel • Color Mixing • Film and Video Colorspace • Color Harmonies and Interaction of Color • Interaction of Color and Visual Phenomena • The Laws of Simultaneous Contrast • Metamerism • The CIE Color System • Standard Light Sources in CIE • Digital and Electronic Color • Control of Color • What is White? • Color Temperature • Color Meters

  21. Color Balance of Film • Color Balance with Camera Filters • Conversion Filters • Light-Balancing Filters • Correcting Color Balance • CTO • Tungsten to Daylight • Fluorescent Lighting • Correcting Off-Color Lights • Arcs • HMI • Industrial Lamps • Stylistic Choices in Color Control

  22. 8 Electricity p 149 • Measurement of Electricity • Potential • Paper Amps • Electrical Supply Systems • Three-Phase • Single-Phase • Power Sources • Stage Service • Generators • Generator Operation • Tie-ins • Tie-in Safety

  23. Determining KVA • Wall Plugging • Batteries • Battery Capacity • Lead Acid • Heavy Antimony • Nicads • Li-Ion and NiMh • Load Calculation and Paper Amps • Ampacity • Color Coding

  24. The Neutral • Distribution Equipment • Tie-ins • Busbar Lugs • Connectors • Bullswitches • Feeder Cable • Wire Types • Distribution Boxes • Lunch Boxes, Snake Bites, Gangboxers, and Four-Ways • Extensions • Planning a Distribution System

  25. Working with AC and DC • Calculating Voltage Drop • VCR • Electrical Safety • Wet Work • HMI Safety • Grounding Safety

  26. 9 Gripology p 173 • Light Controls • Reflectors • Operating Reflectors • Flags and Cutters • Flag Tricks • Nets • Net Tricks • Cuculoris • Diffusers • Butterflies and Overheads • Griffs

  27. Holding • Grip Heads • Clamps • Studded C-Clamps • Miscellaneous

  28. 10 The Team & Set Operations p 190 • The DP • The Team • The Gaffer • The Best Boy • Third Electric and Electricians • The Key Grip • Grips

  29. Other Crews • Set Operations • The Process • Rough-in • Blocking • Light • Rehearsal • Shooting • Procedures

  30. 11 Lamps & Sockets p 203 • Types of Radiating Sources • Carbon Arc • Tungsten • Tungsten-Halogen • Enclosed Arc: HMI • Household and Practical Bulbs • Practical Bulbs • Fluorescent Tubes • Dichroics

  31. 12 Technical Issues p 213 • Shooting with HMI Units • The Power Supply • Flicker-Free HMIs • Dimmers • Dimmer Systems on the Set • Working with Strobes • Strobe Exposure • Exposure for Macrophotography • Depth-of-Field in Closeup Work • Lighting for Extreme Closeups • Underwater Filming

  32. Effects • Rain • Smoke • Fire • TV and Projector Effects • Day-for-Night • Moonlight Effects • Water Effects • Lightning

  33. Using Daylight • Lighting for Process Photography • Chroma Key • Greenscreen • Lighting for Process Photography • Greenscreen/Bluescreen Tips

  34. Appendix p 232 • Brute Arc Operation • International Plug and Socket Types • Building Your Own Hand Squeezer • Typical Lighting Order for a Small Independent Film • Lighting Order for a Large Studio Film

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