How do we get the best lighting?
1. Use natural lighting- sunlight, in shadow, in mist, through rain depending on the effect you need and bearing in mind that you will have to be flexible about time if you need to wait for the right conditions.
2. Use cheap and cheerful artificial light, as long as you have carried out risk assessments, you can make use of candles, firelights, torches, car headlights, security lights, neon signs and street lighting.
3. Create colour filters, you can easily shine light through coloured liquid, vases and ornaments.
4. Position the light source for effect, lighting a scene from above, below or in an obscured way will create different kinds of atmosphere, so experiment with this using the kinds of light source listed above.
5. Ultimately lighting a scene is a scientific process.
2. Use cheap and cheerful artificial light, as long as you have carried out risk assessments, you can make use of candles, firelights, torches, car headlights, security lights, neon signs and street lighting.
3. Create colour filters, you can easily shine light through coloured liquid, vases and ornaments.
4. Position the light source for effect, lighting a scene from above, below or in an obscured way will create different kinds of atmosphere, so experiment with this using the kinds of light source listed above.
5. Ultimately lighting a scene is a scientific process.
Key lighting we used and why:
We are using low key lighting because it makes it mysterious, it is associated as being scary and also it is always dark when bad things happen.
We are using candles and small lamps to keep the lighting as low key lighting so that it is not to dark and so the audience can still see our faces
We are using candles and small lamps to keep the lighting as low key lighting so that it is not to dark and so the audience can still see our faces
What time of day?
We decided that the best time of day to do our filming would be in the day as it is light and we can use match colour, or colour corrector to change the lighting. We also chose to film our trailer in daylight because we knew that if we decided it was too light or decided we wanted it darker we could always darker the footage on final cut pro. We also chose to film in daylight because we learnt that sometimes when you film in low key lighting the footage can look ok on the camera but when you come to editing it, it can look grainy,blurry, and cannot sometimes see any of the footage. We learnt this from filming our opening title sequence last year in AS. We had filmed a lot of footage in low key lighting and found it hard when coming to editing to have enough shots and had to re film some bits because you couldn't see a lot of the footage we had. From this practice in AS we decided that it would be best to film all of our trailer in low key lighting. We want the footage to be dark in our trailer because it is best set in the dark because of the stereotype for when scenes are filmed in horrors are when it is dark. This is because it makes it more scary and created more of an atmosphere for the audience and builds tension when it is darker. this relates to our group because in our horror opening sequence we are young teens at university messing around. So therefore it was best to film all our footage in daylight and the parts we wanted darken we decided to just edit them darker on final cut pro.
Why filming in the night wont work?
We cant film in the evening because it will be too dark and the tool on final cut can lighten it as the video is to dark and it will start to make it white instead of lighten it. So if you film in the day you can add your own effects by colour correct and match colour.
Examples of good lighting
We thought it was good lighting when the hand moves towards the zombie girl, then she's stabbed right in the hand. The lighting is good because it makes you focus on the hand just before its stabbed. Creating slow, dramatic tension.
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Insidious uses a lot of good high angled lighting on the face to emphasis her facial expression and emotion. Showing the mood of that scene. This then effects the audience mood as well while they are watching.
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Rebecca, Maisie, Sam And Kirsty
Lighting
The two main purposes of lighting in a film are:
Realist- When successful in this achievement, the actors and the set are lit naturally and ver low profile so that not even the audience notice the technology which has been arranged to simulate reality.
Expressive- This is to "set the mood" or to give the film a "look"; to contribute to narrative detail such as character or motivation.
The conventional lighting set-up is usefully described as having three light sources:
Key Lighting- Is the main light of the set. The light is usually set to one side of the camera and aimed at the figure/object to be lit.
Fill Light- This takes out some of the shadows created by the key light.
Back light - Will define the figures outline and separate them from the background.
Kirsty, Maisie
Realist- When successful in this achievement, the actors and the set are lit naturally and ver low profile so that not even the audience notice the technology which has been arranged to simulate reality.
Expressive- This is to "set the mood" or to give the film a "look"; to contribute to narrative detail such as character or motivation.
The conventional lighting set-up is usefully described as having three light sources:
Key Lighting- Is the main light of the set. The light is usually set to one side of the camera and aimed at the figure/object to be lit.
Fill Light- This takes out some of the shadows created by the key light.
Back light - Will define the figures outline and separate them from the background.
Kirsty, Maisie
Lighting Style
High key picture. This shot looks bright overall but has small areas of shadow. So a bright sunlight scene outdoors would be high key.
Low key picture. This shot is dark overall with only a few areas that are highlighted. NIght shots or interior are likely to be Low key although there maybe one brightly lit section of the shot which is then called a deep shadow.
Graduated tonality. The shot doesn't have bright highlights or deep shadows it is just an even range of mid tones for example a shop or a foggy mist morning shot.
Low key picture. This shot is dark overall with only a few areas that are highlighted. NIght shots or interior are likely to be Low key although there maybe one brightly lit section of the shot which is then called a deep shadow.
Graduated tonality. The shot doesn't have bright highlights or deep shadows it is just an even range of mid tones for example a shop or a foggy mist morning shot.
Contrast
High contrast Picture. The shot may be lit either high key or low key but there is a big difference between the illumination level of highlight and shadow areas.
Low key picture. The shot can be either high or low key however the the illumination in the area of shadow is close to the level in the highlight areas.
So the classic film noir set-up would be low key high contrast.
Low key picture. The shot can be either high or low key however the the illumination in the area of shadow is close to the level in the highlight areas.
So the classic film noir set-up would be low key high contrast.
Lighting Quality
Hard Lighting. Created by a specular light source e.g sun, studio spotlight or even candle flame. This is where the source of light gives hard edged shadows. Although the sun is pretty big, when it is a specular light source, its called "small". The notion is of a strong, directional light.
Soft lighting. Created by even more different light sources for example light from an overcast sky, sunlight reflecting of a matte finish wall, studio light with a diffuser filter. The shadows have a much softer edge which could possibly be shown as non-existant.
Soft lighting. Created by even more different light sources for example light from an overcast sky, sunlight reflecting of a matte finish wall, studio light with a diffuser filter. The shadows have a much softer edge which could possibly be shown as non-existant.
Kirsty and Sam