1. The technique of adding light and color to a scene
LIGHTING
The technique of adding light and color to a scene

2. Lighting
Approach:
Consider the effect you want to achieve... bright & open, dark & mysterious, shadowy and intimate, 'natural,’ soft/harsh
then devise a method for achieving it.

3. Other factors
talent movement (sitcoms lit brightly to accommodate movement on 'stage'... lighting generally not key to story)
type of production - hard news, magazine/depth interview style, narrative

4. Other factors goals of production
availability of equipment and time constraints

5. Lighting Units (fixtures, housings)
Spots
focused beam, bright, intense
lamp (bulb) moved to focus/flood beam
very common

6. Fresnel (freh-NEL) Barbizon link
Very common studio and field light
Adjustable bulb - slides back and forth within the light housing
Special lens at front of light - circular pattern adds both focus and diffusion to the light beam

7. Ellipsoidal (Leko) complex lens system
very precise, less common, studio only
Barbizon link

8. External reflector spot
”Field" light w/moveable bulb
Very common in field production
1000W Lowel DP Light
Chimera Soft Box
650W fotolite
Barn doors
250W Lowel Pro Light
Umbrella mount

9. Flood diffused light, reduces/fills shadows
scrim can be added to increase diffusion
Scoop -fixed" bulb, soft light
Broadlight - "box" shaped, may have many lamps, used in studio or field.
Lowel Tota light - 650W
Often used w/umbrella
Built-in barn doors (2, not 4)

10. Elements (bulbs) INCANDESCENT - typical light bulbs, yellowish color
QUARTZ/HALOGEN - very bright and hot
3200K
- handle w/care: use gloves, oils from hands can ruin bulb
HMI - halogen-metal-iodine K
bluish light, not as common

11. Mounting devices
Lighting grid - mounted on ceiling, feet high (studio only)
C-clamp (studio) - connects to grid
Light stands (field) - tip easily, use sandbags if possible, be careful when extending fully
Various field light clamps - ceiling clips, door mounts...

12. Brightness control
Studio lighting control panel - all lighting inputs controlled from panel
Dimmers - in-line power controls which enable lights to be dimmed (make sure light wattage doesn't exceed dimmer capacity [e.g., 600 watts])

13. Diffusion devices Goal - soften light and shadows, reduce harshness
Reflector umbrella - light faces away from the camera, bounces off of umbrella (think 'senior portrait').
Soft box - nylon box mounts to lighting unit with a wire frame, white material softens light
Diffusion gels - different materials which soften light, connected with clothes pins or gel frame

14. Diffusion continued
Bounce light off the ceiling/wall to create a diffused light on the subject.
Bounce-fills - white/gold nylon on expandable frames to bounce light onto fill side of subject.  Very useful in the sun or with only one light.
- put bounce on opposite side of key light
- use a C-stand if possible

15. Diffusion continued Silks/scrims (some bounce fills can do this too)
Reduce the amount of sunlight falling on talent (creates shade) a C-stand if possible

16. Direction control
Barn doors - fit onto lighting unit, help "shape" light
Snoot - same, circular pattern ('coffee can' on front of light helps really narrow beam)

17. Color Gels colored acetate mounted on front of light
adds color to light
can be used to 'correct' color (turn tungsten to daylight temp or vice versa)
CTO - orange, makes daylight warmer
CTB - blue, makes lighting units match sunlight

18. LIGHTING TECHNIQUE 3-POINT LIGHTING - basic method
KEY LIGHT - main light source on subject
focused, tight beam
creates strong shadow
vertical angle: degrees
    too low - reflection, shadows on wall
    too high - shadows on face
side angle: deg. to side of camera
Instruments - Fresnel, ellipsoidal, external reflector

19. 3-Point Lighting cont’d.
FILL LIGHT - soft, diffused,
- opposite side of camera from key light
- removes shadows from KEY
Elements: scoop, broad, flooded Fresnel or external reflector w/diffusion
One person's key can be another's fill.

20. 3-Point Lighting cont’d.
BACK LIGHT lights the back of the subject
highlights edges, back, hair
separates subject from the background
higher angle than others deg.
so it won't spill into camera lens
can be mounted low (rim light)

21. OTHER LIGHTING TECHNIQUES
BACKGROUND lighting
- lights the 'background'
- be selective and careful, light separately
- color helps separate subject from background
- gobos, 'cookies' can shape light, add patterns to light

22. OTHER LIGHTING TECHNIQUES
KICKER - low level light, lights specific item or area on set
Trend is toward lower overall light levels, more naturalistic lighting

23. Some basic lighting suggestions:
Be very aware of the direction, color and intensity of light when setting up on location. 
Where is the light coming from?
Can it be controlled, eliminated?
What color is it?  Is outside light bleeding in?  What can we do about it?
Is light too intense? Too soft?  How can this be adjusted?

24. Some basic lighting suggestions:
2. Don't set lights until camera position and talent position have been determined.  Don't set camera and talent until lighting issues have been considered.
3. Make sure you look through the viewfinder when determining proper light levels (don't just use your eyes).

25. Some basic lighting suggestions:
4. Do NOT plug lights and cameras into the same outlets. Buzz/hum.
5. Never plug a light in with the switch in the ON position (ALWAYS turn lights off before plugging in).
6. Warn people that you are turning lights on so that they don't get 'blinded' by the light. “STRIKING!”

26. Some basic lighting suggestions:
7. Use gloves to handle lights once they have been turned on - housings get very hot very fast.
8. Never touch the bulbs with bare hands, oils will cause them to break.

27. Some basic lighting suggestions:
9. Light foreground and background separately. Light from main lights should NOT also light the background.
Provide plenty of room between subject and the background.
Light the background with separate units.