Film Lighting
Page 37
strategy of lighting and, 115, 121, 127, 129, 134, 137
baffles, 63
bag lights, 55
Ballard, Lucien, 186
ballast units, 26
balloon lights, 27, 60–61, 60, 127, 209, 211
bam-bam lights, 68, 209–10
Bardwell & McAlister Lighting, 32, 47–48
Barger Lite, 59–60, 59, 60
barndoors, 39, 49, 62, 66, 66, 113, 120, 188, 189
Barnes, Scott, 44
Barrymore, Drew, 181
Batman Begins (movie), 104, 189
Bauman, Michael, 22–23, 31, 33, 42, 43–44, 48, 111, 131, 149
Baumgartner, Robert
lighting equipment and, 29–30, 32–33, 39, 40, 42, 63–64
lighting a scene and, 155, 183
location lighting and, 212, 213–14, 220
strategy of lighting and, 132, 138
Bayer filter, 74
beadboards, 106, 129, 195
beam projectors, 42–43
beauty lighting, 180–82
beaver boards, 38
Bebee lights, 51–52, 207, 208, 209
Beebe, Dion, 11, 42, 43, 50, 56–57, 103, 111–12, 138, 139–41, 146, 183–84, 222
Being There (movie), 5, 80, 169
Bergman, Ingmar, 1
best boy, 22, 69, 70
Best Friends (movie), 168
“Biggle strips,” 57
Biutiful (movie), 206
black-and-white pictures
backlight and, 107, 111
collaboration in filmmaking and, 13
image manipulation and, 76, 83
lighting a scene and, 159, 160
strategy of lighting and, 135
black people, 182–83, 184
The Black Stallion (movie), 186
Black Sunday (movie), 6, 45
black wrap, 30, 66
Blade Runner (movie), 40, 186
bleach bypass, 97, 98, 139
blocking, 15, 18, 20, 21, 149, 150, 184, 224, 230
Blow Out (movie), 217
Blue Thunder (movie), 6
boards. See cards/boards; type of board
bobbinet, 159, 188
Body and Soul (movie), 3
book lights, 46, 104, 131, 131
boom man, 121
booster light, 198
bottomers, 115
bouncers
backlights and, 111
diffusers combined with, 131
face lighting and, 171, 179
fill lights and, 105–6, 107
key lights and, 104, 106
lighting equipment and, 30–31, 35, 37, 38, 39, 41, 42, 44, 46, 49, 50, 52, 53, 55, 68, 69
lighting a scene and, 161, 165, 168, 171, 179, 180, 189
location lighting and, 194, 195, 196, 197, 209, 211–14, 217–18, 220, 222–25
strategy of lighting and, 114–19, 123, 124, 129–33, 129, 130, 131, 134, 138
and style of cinematographer, 2
Box, Harry C., 69
box-type soft light, 123–24
Brando, Marlon, 184, 189–90
Briese USA, 131–32
brightness ratio, 80, 135, 206, 214
British Wendy, 47
broads, 49
Brokeback Mountain (movie), 209
Brooks, Richard, 13
Buckley, John, 33, 57, 61, 103, 111, 117–18, 146, 151, 164, 169, 184, 209, 220
Burum, Stephen, 36, 187
Bus Rider’s Union (movie), 223
butterflies, 67, 175, 179, 193
C-stands (Century stands), 56, 63–64, 122, 128, 156
cables, 31, 60–61, 70–71
cameraman
as assistant to directors, 6
and cinematographers as “lighting cameraman,” 20
collaboration in filmmaking and, 6, 12, 19–24
composition and, 19–24
role of, 20
See also specific person or topic
cameras
digital, 35, 139–43
down, 178–79
handheld, 30, 221, 225, 226
HD, 2, 137, 142, 204, 222
lighting equipment and, 30, 35, 51, 52
lighting with multiple, 137–39
location lighting and, 204, 222, 224, 225, 226
multiple, 226
Red Epic, 73, 84
and single-camera technique, 137
single-sensor, 74
Sony, 73, 74, 75
strategy of lighting and, 137, 142
testing of, 141
video, 2, 7, 51–52
See also digital cameras; Genesis camera; specific manufacturer
Cameron, Paul, 140, 222
Campbell, Colin, 22, 33, 129–30, 146, 155, 208, 220–21
campfire scenes, 212–13
candlelight, 58, 116, 135, 136, 164, 165, 225, 227
cards/boards
lighting equipment and, 44, 46, 49, 50, 53, 53, 54, 55
lighting a scene and, 162, 165, 167, 168, 183
location lighting and, 197, 205, 219, 224, 225, 227
strategy of lighting and, 115, 117, 121, 123, 129, 131
Carpenter, Russell, 38, 41–42, 111, 118, 141–42, 166–67, 179–82, 185, 227
CC filters, 216
cheating, 21, 46, 147, 148, 153, 158, 162, 175, 179, 193, 195, 218
Chicago (movie), 43
chicken coop, 31, 53–54, 54
children: photographing, 183
Chimera box/banks, 58, 59–60, 59, 63, 124, 127–29, 128, 181, 185, 209, 223
Chimera Pancake Lantern, 128, 128
China balls, 54–55, 55, 58, 68, 166, 167, 180, 207, 209
Chinatown (movie), 45
Chinese lanterns. See China balls
chroma key, 74
cinematographers
in Britain, 20
collaboration in filmmaking and, 1–24
flexibility of, 230
function of, 2, 7
hiring of, 2–3
improvisations by, 230–32
instincts of, 14
intuition of, 83, 200
and learning to light, 228–32
as “lighting cameraman,” 20
personality of, 2, 12, 24
power of, 96
role of, 20
selection of projects by, 3–4
self-esteem of, 232
tasks of, 1, 2, 24
cinematography
by committee, 100
power of, 7
Clay Paky company, 44
“cleaning of the eyes,” 154
clip-ons, 70
clipping, 84
close-ups
accessories for, 184–86
collaboration in filmmaking and, 16
face lighting and, 171, 174, 176, 178, 179
learning to light and, 231
lighting equipment and, 37
lighting a scene and, 154–57, 174, 176, 178, 179, 184–86, 188
location lighting and, 193, 194, 197, 202, 204, 207, 225
Coleman lantern, 165
collaboration
art director-cinematographer, 10–13
balance of power and, 19–20
composition and, 17–24
director-cinematographer, 2–10, 14
egos and, 12–13, 15, 24
learning to light and, 229–30
lighting a scene and, 144
rehearsals and, 14–17
strategy of lighting and, 136
and working with the crew, 19–24
Collateral (movie), 140–41, 222
color
backlight and, 107
collaboration in filmmaking and, 11, 13
composition and, 17
correctors, 97, 99
image manipulation and, 76
key lights and, 103, 104
lighting equipment and, 32–33
serving the story and, 10
strategy of lighting and, 114, 126, 130–31, 135
style of project and
, 5
See also gelatins
Color Kinetics, 44
color meters, 198, 216
colorists, 100–101, 202
Coming Home (movie), 116
commercials, 10, 229
compact lights, 61–63
composition, 17–24, 163, 164
computers, location lighting and, 217
Condor (crane), 61, 150, 151, 209
Conrack (movie), 6
contrast viewing glass, 76–77
costumes, 11, 12, 13, 61, 204. See also art directors; wardrobe
covered wagons, 56–58
Crabe, James
collaboration in filmmaking and, 22, 23
image manipulation and, 78–79, 80–81, 89, 90
learning to light and, 229–30
lighting a scene and, 162, 178–79, 184–86
location lighting and, 199–200, 211, 225–26
strategy of lighting and, 117, 120–21, 137
cranes, 51, 52, 209, 210, 210, 211. See also Condor
crew
collaboration in filmmaking and, 15–16, 19–24
day-for-night filming and, 202
directors’ relationships with, 121
learning to light and, 229
lighting equipment and, 43
lighting a scene and, 146, 149, 151, 159
precalls for, 151
at rehearsals, 15–16, 121
relationships among, 21–22
safety of, 24
strategy of lighting and, 121, 136
See also specific person or type of crew member
Cronenweth, Jordan
backlights and, 109–10
collaboration in filmmaking and, 18
as developer of Croniecones, 67
image manipulation and, 85, 91
lighting equipment and, 68
lighting a scene and, 163–64, 165, 167, 168, 169, 182, 186
location lighting and, 195, 204, 206, 211, 215, 227
strategy of lighting and, 115, 130
Croniecones, 67–68, 68, 116, 189
cross lighting, 103, 104, 145, 148, 163, 198, 199, 203
cross-processing, 139, 142
cross-shooting, 138
Crowe, Russell, 207
Crudo, Richard, 37, 39, 41, 42–43, 46, 54, 57–58, 62, 104, 165–66
Cruise, Tom, 5
CTB (color temperature blue), 85, 198, 209, 218
CTO (color temperature orange), 85, 184, 209
CTS (color temperature straw), 104
cucolorises (aka cookies), 120, 123, 195
culture, film: changes in, 10
cutters (flags), 66, 120, 120, 121
Cyberlights, 44
cyc lights, 49–50
cyc strips, 49, 50, 50
cycloramas, 49, 50
dailies, 21, 84, 94, 95, 142, 194
The Dark Knight (movie), 41, 189
Daumier, Honoré, 3
Daviau, Allen
collaboration in filmmaking and, 4, 15, 21
image manipulation and, 85, 86, 91–92, 92, 93, 95–96
learning to light and, 229, 232
lighting equipment and, 36, 46–47
lighting on location and, 215
lighting a scene and, 159
location lighting and, 197, 213
and selection of projects by cinematographers, 4
strategy of lighting and, 118
and working with smoke, 91–92
day-for-night filming, 202–4
The Day of the Locust (movie), 8–9
daylight bulbs/tubes
lighting equipment and, 27, 28, 31, 50, 58, 61
location lighting and, 206, 213, 214, 216, 217, 220, 220
types of light sources and, 31
daylight filming
of exteriors, 46, 47, 50, 67, 170, 191, 192–99
fill lights and, 107
of interiors, 35, 46, 47, 107, 116, 147–48, 152, 157–59, 163, 191
lighting equipment and, 35, 40, 46, 47, 50, 62, 67, 69
lighting a scene and, 147–48, 152, 157–59, 163, 170, 189
location lighting and, 191, 192–99, 220, 222, 226
strategy of lighting and, 116, 117, 132
in studio, 157–59
See also vehicle lighting
De Palma, Brian, 9
Dedo lights, 38–39, 39, 69, 161, 183, 221
Degrazzio, Doug, 141
Deschanel, Caleb
collaboration in filmmaking and, 5, 7–8, 15
image manipulation and, 79, 80, 83, 87, 88–89, 98–99
lighting equipment and, 36
lighting a scene and, 154–55, 167, 169, 186
location lighting and, 191–92, 200–201, 206
strategy of lighting and, 115, 130–31
designers
collaboration between cinematographers and, 13
See also specific person or type of designer
Devlin, David, 29, 31, 36, 43, 51–52, 127, 132
Diaz, Cameron, 181
Dietrich, Marlene, 179
diffusion/diffusers
backlights and, 111, 112
bouncers combined with, 131
collaboration in filmmaking and, 23
face lighting and, 174, 177, 178
image manipulation and, 86, 89, 90, 91
key lights and, 104
lighting equipment and, 28, 30, 31, 35, 41–42, 51–56, 53, 54, 55, 58–61, 63, 66, 67–68, 68
lighting a scene and, 145, 148, 160, 161, 162, 164, 166, 168, 169, 174, 177, 178, 180, 181, 186, 188, 189
location lighting and, 194, 197, 205, 207, 209, 213, 214, 218, 220, 223, 226
strategy of lighting and, 113, 114, 116–19, 123, 124–29, 126, 131, 131, 132–33, 133
and style of cinematographer, 2
See also gelatins
digital cameras, 35, 72, 73–76, 84, 188, 213. See also digital intermediate (DI) suite
digital imaging technician, 76, 141
digital intermediate (DI) suite, 72, 88, 95–101, 204
digital video, 139–43
dimmers
anatomy of lighting and, 112
collaboration in filmmaking and, 11
image manipulation and, 85
lighting equipment and, 29, 31, 37, 42, 44, 46, 50, 51, 52, 54, 56, 57, 58, 59, 61, 63–65
lighting a scene and, 155, 162, 164, 165, 183, 187, 189
location lighting and, 212, 217, 220, 226
strategy of lighting and, 123, 128
Dino lights, 31, 47–48, 52, 68, 209, 218
directional lights
lighting equipment and, 45, 58
lighting a scene and, 154, 159, 160, 161, 166, 180
strategy of lighting and, 116, 117, 123
director of photography: collaboration in filmmaking and, 22–23
directors
actors relationship with, 152
anatomy of lighting and, 102
cameraman as assistant to, 6
cinematographers’ relationships with, 2–10, 14, 18, 144
and cinematographer’s selection of projects, 3–4
collaboration in filmmaking and, 2–10, 12, 13, 14, 15, 16, 17, 18, 19–24, 144
composition and, 17, 18, 19–24
crew relationships with, 121
experience of, 6–7, 14
and hiring of cinematographers, 2–3
learning to light and, 230–31
lighting equipment and, 64
lighting a scene and, 148, 149, 151, 152, 153, 154, 155, 182
literary, 6
location lighting and, 191, 192, 193, 194, 203, 205, 206, 214, 215, 225
at rehearsals, 14, 15, 16
serving the story and, 7–10
strategy of lighting and, 115, 137, 138, 139
style of film and, 4–7
technical, 6
as writers, 10
See also specific person
Diva lights, 28, 29
The Diving Bell and the Butt
erfly (movie), 154
DMX lights, 28
documentaries, 229
Doré, Gustave, 17
Douglas, Michael, 221
“dumb side” lighting, 147
Duplicity (movie), 30, 208
Eastman Kodak film, 73, 85, 92–93
ECT. See Electronic Theatre Controls Inc.
edge lights, 28
editing, 17, 24
egg crate grids
honeycomb, 22, 29, 63
lighting equipment and, 22, 29, 30, 60, 63
location lighting and, 218
strategy of lighting and, 114, 119, 123, 130
egos, 12–13, 15, 24, 99
8 Mile (movie), 206–7
Ektachrome film, 99
electricians, 22, 31, 36, 64, 70, 161, 202, 222, 231
Electronic Theatre Controls Inc. (ETC), 37–38, 56.
See also Source Four
ellipsoidal reflector spotlights, 37–39
Elswit, Robert, 27, 38, 55, 58–59, 111, 130, 142–43, 150, 184, 188–89, 208, 214
emulsion, film, 2, 7, 13, 35, 63, 200, 204, 205, 206, 213, 215, 227
England
cinematographers in, 20
image manipulation in, 93
English, Jack, 55
enlarger bulbs, 63
ENR process, 97, 98
environment, 72, 199, 220. See also weather
equipment, lighting
and style of cinematographer, 2
and types of light sources, 25–71
See also specific type of equipment
E.T. (movie), 91, 92, 210
Europe
backlights in, 112
power supply in, 69, 70
exposure
fill lights and, 104
image manipulation and, 84, 90, 91, 93–94
learning to light and, 229
lighting equipment and, 50
lighting a scene and, 154, 183
location lighting and, 195, 198, 200–206, 212, 215, 219, 221, 222, 226, 227
measuring and evaluating light and, 78, 79–80, 81, 82–83
strategy of lighting and, 116, 123, 134, 139, 142–43
exteriors
daylight lighting for, 46, 47, 50, 67, 170, 191, 192–99
fill lighting and, 178
learning to light and, 229, 230
lighting equipment and, 44–45, 46, 47, 50, 52, 61, 67
lighting a scene and, 151, 166–67, 168, 170, 213–16
location lighting and, 191, 192–99, 216, 221, 222
night lighting for, 44–45, 46, 50, 52, 106, 116, 140, 151, 166–67, 168, 191, 221
strategy of lighting and, 116, 140
and style of cinematographer, 8
See also vehicle lighting
eye light
face lighting and, 172, 175, 177
image manipulation and, 106
lighting equipment and, 31, 32, 62
lighting a scene and, 166, 172, 175, 177, 186–90, 187
location lighting and, 197
eyeglasses, 184–85
faces
anatomy of lighting, 102–5, 107, 108, 110
beauty lighting and, 180–82
eye light and, 186–90
image manipulation and, 76–83, 88, 94, 97, 100