ISBN-10:
0240802497
ISBN-13:
9780240802497
Pub. Date:
11/28/1995
Publisher:
Taylor & Francis
Motion Picture and Video Lighting / Edition 2

Motion Picture and Video Lighting / Edition 2

Paperback

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Product Details

ISBN-13: 9780240802497
Publisher: Taylor & Francis
Publication date: 11/28/1995
Edition description: REV
Pages: 226
Product dimensions: 7.00(w) x 10.00(h) x 0.50(d)

About the Author

Blain Brown was educated at C.W. Post College, MIT, and Harvard Graduate School of Design. He began in New York as a commercial still photographer before starting in the film business. After working as a gaffer, be became a cinematographer doing primarily commercials and music videos. After completing his first feature film, he moved to Los Angeles where he has been Director of Photography on 14 feature films as well as national commercials, promotional films, industrials, music videos, and documentaries. He has worked in many states in the U.S. as well as Mexico, Canada, India, Italy, France, the Philippines, and Jordan. His experience includes 35mm and 16mm projects, as well as 24P High Def, DigiBeta, BetaSP, and DV. He has completed projects as a director, editor and screenwriter; with three screenplays produced. He has also taught courses in storytelling and visual communication. As a Director of Photography specializing in features and commercials, he is now based in Los Angeles. His books include A Sense of Place; Cinematography; and The Filmmaker's Pocket Reference. His work can be seen at www.BlainBrown.com.

Table of Contents

HISTORY OF LIGHTING


Controllable Light

Early Film Production

Introduction of Tungsten Lighting

The Technicolor Era

HMI, Xenon, Fluorescent, and LED Sources


Kino Flo

LEDs

LIGHTING SOURCES


Types of Lights

Fresnels

LEDs


Efficiency

LED Panels

LED Fresnels

Remote Phosphor LEDs

Tungsten Fresnels


The 10K and 20K/24K

The 5K

Juniors

1K

650, Betweenie, and InBetweenie

Inkie

HMI Units


12K and 18K

6K and 8K

2.5K and 4K

Smaller HMIs

When an HMI Fails to Fire


Care and Feeding of HMIs

Xenons

Open Face Lights


Skypan

2K Open Face

1000/600/650 Watt Open Face

Par 64

PAR Groups


Dino, Moleeno, and Wendy

Maxi-Brute

FAYs


HMI PARs

Soft Lights

Space Lights

Fluorescent Rigs


Color Correct Fluorescent Units

Color Correct Bulbs

Cycs, Strips, Nooks, and Broads

Plasma Lights

Other Types of Sources


Chinese Lanterns

Lekos

Crane Mounted Lights

Jokers

Dedolights

Balloon Lights

Barger Lights

LIGHTING BASICS


The Fundamentals of Lighting


The [Conceptual] Tools of Lighting


The Attributes of Light

What are the Goals of Good Lighting?


Full Range of Tones

Shape

Separation

Depth

Texture

Mood and Tone

Exposure and Lighting

Hard vs. Soft

Color Control and Color Balance

Some Lighting Terminology

Working With Hard Light And Soft Light



Hard Light

Soft Light

Direction

Avoiding Flat Front Lighting


Light from the Upstage Side

Backlight and Kicker

Intensity

Adding Texture in Lighting

Color

Lighting Techniques


Classical Hard Light

Ambient

Bringing it Through the Windows

Motivated Lighting And Practicals


Motivated Light

Lighting with Practicals



Available

Basic Principles of Lighting


Back Cross Keys

Ambient Plus Accents

Lighting Through the Windows

Available Light Windows

Day Exteriors

Open Shade and Garage Door Light

Sun As Backlight

Magic Hour

CONTROLLING LIGHT


Hard Light and Soft Light


Fill for Day Exteriors

Silks and Diffusion

Scrims and Barndoors

Flags, Solids, and Nets

Chimeras and Snoots


Softboxes

Eggcrates

The Window Problem


ND For Windows

Cookies, Celos, and Gobos

Dimmers


LED Dimmers

Hand Squeezers

SCENE LIGHTING


Lighting Plans

General Principals of Scene Lighting

Let’s Look at These One by One


Read the Script

Confer With the Director

Light the Scene, Not the Set


Insist on Seeing a Full Rehearsal

Insist on Having Lighting Stand-Ins

What Are the Opportunities?


The Set

The Action

Script Hints

Consider Your Resources


Lights

Power

The Location

The Director’s Concerns

The Plan

Lighting a Scene With Practicals

Lighting/Grip Order

LIGHT AS STORY


Storytelling With Light

Metaphor


Atmosphere

The Power of Darkness

Establish Character

COLOR


Color Terminology


Color Temperature: The Balances

Warm and Cool

Magenta vs. Green

The CIE Diagram

The Spectral Locus

The White Point

The Line of Purples

Color Balance with Gels and Filters


Conversion Gels

Light Balancing Gels

CTO

CTB

Color Correction Gels

Dealing with Fluorescent Light

Correcting Off-Color Lights


HMI

Industrial Lamps

Camera Filtration for Industrial Sources

Measuring Color


Color Meters

The Vectorscope

Calibration Test Charts

DSC Labs Test Charts

The One Shot

The X-Rite ColorChecker

Color as a Storytelling Tool

EXPOSURE


Exposure Theory


What Do We Want Exposure to Do for Us?


The Bucket

Controlling Exposure


Change the Bucket

The Elements of Exposure


Light

F/Stops

The Response Curve


Underexposure

Overexposure

Correct Exposure

Higher Brightness Range in the Scene

Two Types of Exposure


The Bottom Line

Exposure in Shooting RAW Video

The Tools of Exposure


The Incident Meter

The Reflectance Meter

A Different World of Exposure


Setting Exposure with the Waveform Monitor

F/Stops on the Waveform

Exposure Indicators in the Camera


Zebras

Histogram

Traffic Lights and Goal Posts

Goal Posts

Traffic Lights

False Color Exposure Display

Red False Colors


Comparing Red Exposure Modes

Arri Alexa False Colors

Strategies of Exposure


Don’t Let It Clip, but Avoid the Noise

Texture & Detail

The Dilemma


Using Light Meters


Meter the Key

Using the Waveform Monitor

Placing Middle Gray

Start at the Bottom or Start at the Top

Expose to the Right

Zebras

The Monitor

Know Thyself and Know Thy Camera

ELECTRICITY & DISTRO


Measurement of Electricity


Potential

Paper Amps

Electrical Supply Systems


Single-phase

Three-phase

Power Sources


Stage Service

Generators

Large Generator Operation

Guidelines For Running Small Generators


Paralleling Small Generators


Does Paralleling Cause Damage to Generators?

Tie-ins


Tie-in Safety

Determining KVA

Wall Plugging

Load Calculations and Paper Amps


Ampacity

Color Coding

The Neutral

Distribution Equipment


Tie-in Clamps

Busbar Lugs

Connectors

Bull Switches

Feeder Cable

Wire Types


Wire Designation Codes

Distribution Boxes


Lunch Boxes, Snake Bites, and Gangboxes

Extensions (Stingers)

Zip Extensions

Planning a Distribution System


Balancing the Load

Working with DC

Calculating Voltage Drop

Electrical Safety


Wet Work

HMI Safety

Grounding Safety

GFCI


How Does a GFCI work?

GRIPOLOGY


Definitions

Light Controls


Reflectors


Operating Reflectors

Flags and Cutters


Flag Tricks

Nets


Net Tricks

Cuculoris (Cookies)

Grids and Eggcrates

Open Frames

Diffusers


Butterflies and Overheads


Overhead Rules

Griff

Holding


Grip Heads and C-Stands


C-Stand Rules

Highboys

Clamps


Studded C-Clamps

C-Clamp Tips

Bar Clamps

Pipe Clamps

Cardellini and Mafer Clamps

Quaker Clamp

Wall Plates, Baby Plates, and Pigeons


2K Receivers and Turtles

Side Arms and Offset Arms

Other Grip Gear


Sandbags

Apple boxes

Wedges

Candle Sticks

Studded Chain Vise Grips

SET OPERATIONS


The DP

The Team


Gaffer

Assistant Chief Lighting Technician

Third Electric and Electricians


Other Responsibilities

The Key Grip

Grips

Other Crews

Set Operations


Load-In

Staging

The Generator

Cabling

The Process


Rough-In

Blocking

Light

Rehearsal

Shooting

Procedures

Expendables

TECHNICAL ISSUES


Lighting for Greenscreen and Bluescreen


Greenscreen/Bluescreen Tips

Lighting for Process Photography

Flicker


The Power Supply

Flicker-Free HMIs

Dimmers


Dimmer Systems

DMX

Working with Strobes



Strobe Exposure

Lighting and Exposure for High Speed Photography


Exposure

Flicker in High-Speed Photography

Lighting With HMIs and High Speed

Tips for Lighting High-Speed with HMIs

Exposure for Macrophotography


Depth-of-Field in Close-up Work


Lighting for Extreme Close-up

Underwater Filming

Effects


Rain

Smoke

Fire

TV and Projector Effects

Day-for-Night

Moonlight Effect

Water Effects

Lightning

Using the Sun

APPENDIX


Typical Lighting Order For A Small Independent Film

Equipment Order List For a Large Studio Film

Order for a 2nd Unit Night Shoot—Big Budget Film

Light Loss For Common Diffusion Types

Effect Of Diffusion on Color Temp

Lamps and Sockets

Lighting Expendables Order Form

Building Your Own Hand Squeezer

A Typical 5-Ton Truck Package

INDEX

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Motion Picture and Video Lighting 5 out of 5 based on 0 ratings. 1 reviews.
Guest More than 1 year ago
wonderful pictures, excellent technical information, written in language you can understand, perfect for all levels from the beginner to the professional. i go back to this book again and again.