T436 - Fall 2006 - Week 4

Readings: Blain Brown, chapter 8 "the tools of lighting" & chapter 9 "lighting as storytelling"

Agenda/Reality check:

• This week is devoted to lighting
• Today we'll carry out some housekeeping. We need to figure out exactly what roles everyone wshes to carry out. Then fill out production schedule
• Wednesday in lab:
  • 4 cinema technique reports
  • Lighting exercise – bring gray card and light meter if you have one
    
• Actor’s callout this Sunday – need to circulate announcement (hand out)
• Signup to run auditions. We'll need to have them fill out a form, record them (onto the jib camera), snap their photos (anyone want to bring in their camera?), have lines for them to read. I'll be here from 1:45-6. It would be good to have at least 4 people here at a time to run things. (Can fill out
• Scripts/treatments
  • Everyone must submit at least a treatment by Wed.
  • I’ve placed all of the submissions I've received so far into the "Scripts" folder in our Oncourse resource area.
  • Please start looking through them. Those that at least 4 of you think are worthy of production will go into the "finalists" folder. If you see one that shows promise, but needs some work, we'll put it into the “possible contenders” folder.
  • Everyone should read all of the stories. Remember we’re looking for projects that are compelling and lend themselves to arty shots. Also remember that our target audience is not students – it’s adults

Notes: We've got just a few labs devoted to learning techniques and practice. After that it's all production. We can still learn new techniques and cover new material- but only in lecture.

The production team (discuss major roles and how projects are produced)

• Take a look at last semester's production grid
• Discuss/Find out what roles people want to carry out.
• Does everyone want to direct? Does everyone want to DP?
• Writers – re-write stories for clarity, simplicity and length.

Producers – make sure appropriate stories and talent are chosen. Responsible for making sure project is a success. Works with director to make sure all needed props, costumes, and locations are secured.

Director – works with DP, production team, and talent. Makes sure all shots are captured.

DP – in charge of camera. Oversees camera crew and head gaffer/lighting designer

Head Gaffer / Lighting designer - in charge of electrical and lighting crew. Should be best buds with the DP. Responsible for getting the right "look" for the DP.

Audio

PAs

Lighting (continued)

ND filters

Comes in	.3 or ND3	.6 or ND6	.9 or ND90	1.2 or ND12
Takes off (in stops)	1	2	3	4

Polarizing filters take of 1.5 to 2 stops

CTB gels can take off 75% of a lamp's output.

Scrims (the type that slide into a light's filter frame) come in singles and doubles. Singles take off a half a stop, doubles take off a whole stop.

According to the fabulous DP Michael Minnock, all objects must do 2 out of 3 things:

• reflect
• absorb
• transmit

Techniques

High key lighting – low contrast lighting used in sitcoms. Feels light
Low key lighting – High contrast lighting used for a more dramatic effect (X-Files)

Lighting as a story element - Examples (knowledge in Citizen Kane, lights in The Natural)

analyzing pictures and scenes from a movie

A good exercise is to analyze pictures from magazines and scenes from movies. WIth just a little thought, it's easy to determine placement and quality

setting mood (high key, low key, placement, quality)
time of day
emotion

Lighting people and spaces (Zone system & pools of light)

Getting the mood across is a combination of lighting, composition, camera, blocking, and acting. But lighting generally plays a key role in establishing mood. Consider and try to answer the following questions:

How would you make something or someone scary or tense?
How would you make something happy or light?
How do you make someone masculine / feminine?
How do you make someone or the mood sexy or sensual?

There are certainly lighting techniques - low key lighting for scary. Low angle. Pools of darkness. One could use high key lighting for lightness

It's a combination of elements. Character, story point, character arc in relation to story line. Music, cutting, framing of shots. Lighting is only one element.

Get them all to work together and you have something

Directing: How to achieve success

It all starts with storyboards, then floor plans and lighting plots

As a director you are expected to take a story and visualize it. You need to be able to define, describe and articulate your vision. We'll cover mode elements next week but one of the things you need to do is to block your talent can camera positions. (Storyboards and floor plans)

The cinematographer needs to figure out how to achieve the director's vision with the camera.

 

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