Workshop 2

Lighting  

 ⁃ Working with a 50, mid/close shot   

Worker lights  

⁃ made for minimal vision, not very good (base level of lighting)   

A red head light  

⁃ Key light, high intensity, very powerful 

 ⁃ Avoid shadows by placing it as close to the camera   

⁃ Scrim, gauze over the light for when the bulb blows (glass stays in) 

 ⁃ Frost (tracing paper like), waxy gloss to prevent catching on fire   

⁃ Slightly softens light/ exposure (diffuses it)  

⁃ Spun, breakers up light in different directions ( softens it)   Three point lighting   

⁃ three light sources   

⁃ Stock standard lighting there is   

⁃ Key light, fill light, back light  

⁃ Fill light, fills in shadows, slightly less powerful than key light   

⁃ With only two there is no feeling of depth as everything is lit from the front (blends into background  

⁃ Back light, gives her an edge around her  

⁃ Twice as bright as others  

⁃ Blonde light for back light, slightly yellow   

⁃ Needs to be up a little bit and angled slightly down   

⁃ Edges her out from the background   

⁃ Good for normal stuff    

Beauty lighting (‘Blade runner’ lighting set up)   

⁃ Aim blond light straight into camera (behind)  

⁃ Use polystyrene board to reflect light back onto her face  

⁃ Dial down brightened until the   

⁃ Matte box on side of lenses to get rid of dirty light   

⁃ Used a lot in British advertising    

Beauty lighting 2 

 ⁃ Soft box, light is broken up so much   

⁃ Not a lot of shadow  ⁃ Light can bounce of hand onto her face   

⁃ More of a studio look, very professional looking 

Fluorescent lights  

⁃ not dimmer-able (cannot reduce electricity to dim it like the blonde light)  

⁃ Different coloured gels   

⁃ Easy to use and look great    

Photo-flow light   

⁃ Big flood light   

⁃ Looks neutral   

⁃ Works well on ur own but can be paired with a red head light (through soft box)   

Photon beard UK, highlight  

⁃ Bars inside light  

⁃ Smaller more manoeuvrable  

⁃ Hand held, cold light