learning to light and, 229
lighting equipment and, 27, 35
lighting a scene and, 155, 161, 166, 170–90, 171, 172, 173, 174, 175, 176, 177, 180
location lighting and, 195, 197, 202, 204, 211, 217, 219, 223, 226, 227
older female, 178–79
skin lighting and, 182–84
strategy of lighting and, 116, 119, 122, 130, 132, 133, 134, 135, 140–43
and style of cinematographer, 8
See also close-ups
fashion photography, 132
Fat City (movie), 8
fay lights, 46, 86, 131, 198, 209, 226
FCX globes, 131
FCX lights, 68
“feathering,” 188
Fellini, Federico, 1
filament shadows, 42
fill light
anatomy of lighting and, 104–7, 105, 110, 119
face lighting and, 171, 175, 178, 179
image manipulation and, 83
learning to light and, 229
lighting equipment and, 27, 28, 31, 32, 38, 42, 46, 50, 62
lighting a scene and, 145, 148, 156, 157, 163, 166, 168, 171, 175, 178, 179, 180, 186–89
location lighting and, 195, 197, 198, 202, 203, 205, 207, 212, 214, 221, 222, 226
strategy of lighting and, 114, 124, 130, 134, 135
film noir, 2, 111
film stock
fill lights and, 106
image manipulation and, 88, 96, 101
lighting a scene and, 148
location lighting and, 192, 204
as stage in filmmaking process, 72, 73
strategy of lighting and, 114, 139, 140, 141
and style of cinematographer, 2
filters
graduated, 201, 202, 203
image manipulation and, 72, 79, 81, 83, 85–91, 94, 97–98, 101
lighting equipment and, 36
lighting a scene and, 188
location lighting and, 193, 198, 199, 200, 201–2, 203, 204, 206, 215, 216
polarizing, 202, 203
strategy of lighting and, 127, 142
fingers (flags), 66, 120
fingers (scrims), 67
Fiore, Mauro, 41, 43, 52, 104–5, 131, 150, 184, 188
fire. See campfire scenes; smoke
“firestarter,” 45, 46
first assistant, 21
flags
collaboration in filmmaking and, 23
lighting equipment and, 30, 37, 43, 46, 60, 63, 64, 65, 66, 67
lighting a scene and, 156, 161, 162, 181
location lighting and, 195, 218, 221
strategy of lighting and, 114, 116, 121, 123, 127–28, 133
flares: Wong Howe improvisation with, 231–32
flashlights, 41, 164, 165–67, 180, 189
flicker boxes, 212
flicker generators, 57
flickering
improvisation with, 231–32
lighting equipment and, 41, 42, 56
location lighting and, 217, 218, 231–32
floaters, 63, 65, 122
flooding
learning to light and, 229
lighting equipment and, 35, 39, 40, 43, 44, 52, 53, 55, 56, 61, 63, 66
location lighting and, 205
strategy of lighting and, 114
See also photofloods
floppies (flags), 66
fluorescent lights
anatomy of lighting and, 25, 26–31
image manipulation and, 85, 86
in light packages, 9468
lighting equipment and, 32, 58
lighting a scene and, 167, 188, 189
location lighting and, 213, 216–17
flying moon, 211
foam core boards
anatomy of lighting and, 107, 111
face lighting and, 171, 173
lighting equipment and, 30–31, 48, 49
lighting a scene and, 161, 171
location lighting and, 197
strategy of lighting and, 124, 129, 131
The Formula (movie), 184
framing
collaboration in filmmaking and, 2, 17–24
composition and, 17–24
fill lights and, 106
learning to light and, 229
lighting equipment and, 30
and reframing, 19
Frances (movie), 110, 119, 157, 158, 160, 180
Fresnel lights
backlights and, 112
face lighting and, 171, 175, 179
in light packages, 68
lighting equipment and, 25, 30–31, 34–37, 35, 39, 43, 49, 67–68
lighting a scene and, 148, 159, 171, 175, 179
strategy of lighting and, 114, 125, 126, 128
Fuji film stock, 73, 85
funnels. See snoots
fuses, 70
gaffer
as chief set lighting electrician, 22
collaboration in filmmaking and, 21, 22–23
function of, 22
learning to light and, 229
lighting equipment and, 31, 35, 40, 41, 53, 55, 56, 57, 58, 60, 61, 63, 68
lighting instrument decisions and, 22
lighting a scene and, 146, 151, 165
location lighting and, 211, 226
and power supply, 69, 70
strategy of lighting and, 114
See also specific person
GAM Products, 62
Garfield, John, 193
gelatins
color correction, 222
eye light and, 188
GAM, 207
image manipulation and, 85–86
lighting equipment and, 29, 31, 35, 45, 56, 57, 68
lighting a scene and, 161, 165, 184, 188, 189
location lighting and, 197–200, 207–8, 209, 211–15, 217, 218, 220, 222, 223, 224
power supply and, 71
skin lighting and, 184
strategy of lighting and, 127
generators, 41, 44, 45, 51, 52, 57, 60, 70, 211, 230–31, 232
Genesis camera (Panavision), 73, 74, 75, 84, 139, 141–42, 222
Geryak, Cory, 189
glow light, 108
gobos, 37, 39, 44, 69, 117, 173
The Godfather (movie), 190
golden surfaces/reflectors, 85, 105, 131, 184, 197
Gossen Luna-Pro meter, 82
Goya, Francisco, 17
graduates, 87
gray scale, 94–95, 200
grids
lighting equipment and, 36, 54, 59, 60, 67
lighting a scene and, 161, 180, 181
location lighting and, 207, 208, 213, 218, 222, 223
soft light and, 60
strategy of lighting and, 116, 127, 128, 131
See also type of grid
Griffolyn sheets, 129, 162, 197, 205, 211
grip frames, strategy of lighting and, 130
grip stand, location lighting and, 197
grips
collaboration in filmmaking and, 16, 21, 23
lighting equipment and, 55
lighting a scene and, 151, 161
location lighting and, 218, 225
strategy of lighting and, 119
hair light, 108, 111, 112
hair tests, 13, 178
hairspray, 164
Hall, Conrad
collaboration in filmmaking and, 6, 8–9, 12–13, 16, 17, 23–24
learning to light and, 232
lighting a scene and, 170–72
strategy of lighting and, 135–36, 137, 183
Haller, Mike, 5
Hampshire lights, 38, 41–42, 127, 169
hard light
backlights and, 109, 111–12
blending of soft and, 118
controlling, 119–23
decline in use of, 118
face lighting and, 171, 174, 178
lighting equipment and, 35, 41
lighting a scene and, 145, 148, 154, 159, 161, 169, 171, 174, 178, 181–82, 184
loc
ation lighting and, 194, 211, 212, 226
soft light versus, 113–19
strategy of lighting and, 113–23, 118, 131, 134, 134, 140
variations of, 117
Harrison and Harrison, 88, 89
Hart, Richard, 70, 109, 193, 203
Hawks, Howard, 231, 232
headlights, 206, 221, 223, 226
Heaven’s Gate (movie), 94
Hecht, Harold, 3
Higgins, John “Biggles,” 57
High End Systems lights, 44
High Noon (movie), 199
High Wind in Jamaica (movie), 19
The Hindenburg (movie), 19
HMI (hydrargyrum medium-arc iodide globes)
advantages of, 36–37
beam projectors and, 42, 43
compact lights and, 62
and ellipsoidal reflector spotlights, 37–38
Fresnel fixtures with, 35, 36
housings of, 34
image manipulation and, 97
in light packages, 68, 69
lighting equipment and, 38, 48, 62
lighting a scene and, 158, 159
location lighting and, 193, 197, 198, 207, 209, 211, 213, 214, 216, 224
and open-face and area lights, 51–52
PAR lighting and, 48
power supply and, 69, 70
soft lights and, 61
as source light, 25, 26
strategy of lighting and, 114, 127, 132
xenon lights and, 40
Hochheim, Frieder, 26–27
Holender, Adam, 6–7, 82
Holt, Gary, 167
housings, 34, 35, 66
Hurt, Richard, 68
Huston, John, 8
Ianiro lights, 49
Idziak, Slawomir, 137–38
incandescent lights, 68, 114, 134, 198, 217
incident-light meters, 77–80, 81, 82, 83, 84, 200
Inglourious Basterds (movie), 134
inky dink, 35, 186, 187, 188
intensity, light
accessories to luminaires and, 63, 66
backlights and, 112
collaboration in filmmaking and, 11
image manipulation and, 77
lighting equipment and, 48–49, 59, 61, 64
lighting a scene and, 156, 159, 162, 186
location lighting and, 202, 209, 215, 218, 223, 226
strategy of lighting and, 122, 127, 128, 133
and style of cinematographer, 2
interframe movement, 17
interiors
backlights for, 109
daylight filming of, 35, 46, 47, 107, 116, 147–48, 152, 157–59, 163, 191
fill lights and, 107
learning to light and, 230
lighting equipment and, 35, 46, 47, 58, 70
lighting a scene and, 147–48, 152, 157–61, 163, 164, 166, 180
location lighting and, 191, 213–17, 223
night lighting for, 116, 125, 140, 159–61, 164, 180
strategy of lighting and, 116, 125, 140
in studio, 157–59
theater, 217–18
See also vehicle lighting
intraframe movement, 17
Iron Man (movie), 221
Jackpot (movie), 73
Japanese lanterns. See China balls
Jason, Robert
anatomy of lighting and, 105
collaboration in filmmaking and, 23
lighting equipment and, 35, 38, 40, 58, 68
lighting a scene and, 148, 169
location lighting and, 208–9, 212, 217
strategy of lighting and, 118–19, 134
Jem Studio Lighting, 54
John, Augustus, 19
Joker-Bug series (K5600 Lighting), 37, 38, 62, 63, 63, 68, 223
K5600 Lighting Company, 56, 62
Kaminski, Janusz, 5, 33, 40, 50, 52, 99–100, 127, 131, 132, 154, 182
Kelvin TILE, 34
key lights
anatomy of lighting and, 102–4, 105, 106, 107, 109, 110, 110, 119
backlights and, 107, 110, 137
composition and, 17
face lighting and, 171, 175, 176, 177, 178, 179
high and low, 134–35, 134, 135, 136
image manipulation and, 78, 79, 83, 84
lighting equipment and, 26, 28, 32, 38, 46, 50, 55, 61
lighting a scene and, 146, 147–48, 149, 153, 157, 163, 171, 172, 175, 176, 177, 178, 179, 180, 181, 184, 185, 188
location lighting and, 195, 197, 198, 207, 209, 214, 217, 221, 222, 226
strategy of lighting and, 113, 114–15, 120, 121, 124, 128, 130, 134–35, 134, 135, 136, 136
kickers
anatomy of lighting and, 108, 109, 110, 111, 112
face lighting and, 172, 175, 176, 176, 177, 178
learning to light and, 229
lighting a scene and, 172, 175, 176, 176, 177, 178, 183, 188
strategy of lighting and, 118, 122
Kill Bill (movie), 170, 209–10
Kincaid, Ian, 56, 68, 129, 134, 170, 209–10, 217–18
King Arthur (movie), 137
Kino Flo lights
backlights and, 111, 112
Barfly, 29, 69
Blanket-Lite, 27, 207
fatboy, 30
Flathead, 27, 28, 30, 69
fluorescent lights, 217
4Bank, 28
Image 80s, 28, 30
Kamio Ring Light, 189
in light packages, 68, 69
lighting equipment and, 27, 28, 29, 30, 31, 32, 38, 56, 60, 63
lighting a scene and, 161, 180, 181, 187, 188, 189
location lighting and, 207, 209, 217, 219–20, 221, 221, 222, 223, 227
Micro-Flo, 187
Mini-Flo, 188, 219–20, 221, 221, 222, 227
ParaBeams, 29
strategy of lighting and, 139
VistaBeam, 26, 28, 29, 30, 69
Wall-O-Lite, 30
xFlo, 31
Kline, Richard, 16, 117, 153, 201, 217
Knife in the Water (movie), 225
Kodachrome film, 99
Koltai, Lajos, 118
Kovacs, Laszlo, 110, 119, 149, 157, 158, 160, 180, 188
Land of the Lost (movie), 61
Lange, Jessica, 180
Langton, Brent, 132
lanterns
lighting a scene and, 164–65
See also type of lantern
Lathrop, Philip, 89, 121, 178, 186
lavenders, 67
LED (light-emitting diodes) lights
compact lights and, 62, 63
in light packages, 68, 69
lighting a scene and, 188, 189
location lighting and, 220, 220
and moving lights, 44
as source of light, 25, 31–34, 32
Lee Manufacturing, 85, 124
Legends of the Fall (movie), 55
Leko light, 37, 43
Lemmon, Jack, 225
Levine, Len, 28–29, 39, 41, 44, 54–55, 69, 112, 189
Libatique, Matthew
backlights and, 112
image manipulation and, 100–101
key lights and, 103
lighting equipment and, 30, 38, 44, 46, 50, 52, 63
lighting a scene and, 148, 151
location lighting and, 221
strategy of lighting and, 127, 138–39
light boxes: strategy of lighting and, 123
light memory, 1
light meters, 75, 77–83, 94, 140, 141, 184, 229. See also incident-light meters; reflected-light meter
light-restricting devices, 120
lighting
anatomy of, 102–12
awareness of, 228
functions of, 2
and learning to light, 228–32
measuring and evaluating, 77–83
sources of, 151–54
See also specific topic
lighting ratio, 155
Lighting Strikes fixtures, 50
Lighttools Company, 60, 114, 124, 218
line producer, 151
liners, 108
LiteGear, 34
Litepanels, 31, 32, 33–34, 68, 188, 189, 220
location, 191–227
accessories to luminaires on, 65
character of, 227
collaboration in filmmaking and, 8, 11, 21
compact lights on, 61
day-for-night filming on, 202–4
daylight filming on, 192–99
exteriors on, 192–213, 216
fluorescent lighting on, 216–17
image manipulation and, 85
improvisation on, 230–32
interior/exterior scenes on, 213–16
interiors on, 213–18
lighting equipment and, 36, 56, 61
lighting a scene and, 146, 150, 154, 156–57
night-for-night filming on, 204–13
power supply on, 70, 71
scouting and choosing, 11, 191–92, 205
serving the story and, 8
strategy of lighting and, 117, 135–37
sunset filming on, 199–202
too much light on, 224
vehicle lighting and, 218–27, 219, 220
wet, 36, 71
long shots: lighting a scene and, 154–57
lookup tables (LUTs), 84–85, 141, 142
Lowel-Light Manufacturing, 58, 61, 62
LRX Lighting systems, 51, 52
Lubezki, Chivo, 103
Lumapanels, 29, 30–31, 30
Lumiline lights, 226, 227
Luminaria, 47
Luminys lights, 50, 51
Lust, Caution (movie), 218
Mackendrick, Alexander, 3, 12, 17, 18, 19, 20
MacTech fixtures/lights, 31–32, 33, 47–48, 47
Mademoiselle Fifi (movie), 3
Maglite flashlite, 165–66
makeup, 13, 178, 182, 183
makeup artists, 13, 182
manipulation, image, 72–101
brightness range and, 76–77
digital cameras, 73–76
digital intermediate and, 95–101
film stock and, 73
gelatins and, 85–86
in the laboratory, 7, 88, 92–95
and measuring and evaluating light, 77–83
optical media and, 86–91
and picture and waveform monitors, 83–85
as stage in filmmaking process, 72
strategy of lighting and, 139
as tool of cameraman, 7
and working with smoke, 91–92
Mann, Michael, 140, 146–47
Marlboro commercials, 199, 200
Martin MAC 2000 Profile II, 44
master shot
face lighting and, 179
lighting a scene and, 147–48, 154, 155, 179
location lighting and, 198, 202
matching shots, 24, 193, 194, 198, 202, 230
matte box, 89, 103, 188, 206, 225
Maxa Beam (xenon flashlight), 166
maxi brutes
lighting equipment and, 38, 46–47, 48, 68, 69
location lighting and, 198, 205, 209, 213, 214
McCord, Ted, 12
Memoirs of a Geisha (movie), 56, 57
Menges, Chris, 132, 212, 213, 220
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