mercury/mercury vapor, 36, 114, 206, 207, 217
method acting: strategy of lighting and, 117–18
Miami Vice (movie), 50, 140
Michael Clayton (movie), 111
mini brutes, 68, 131
Minority Report (movie), 5, 127
mirrors
lighting equipment and, 35, 40, 41, 43, 44, 49
lighting a scene and, 167–69, 186, 187
location lighting and, 197, 200, 211, 212, 214, 226
Mitchell Manufacturing, 89
Mole-Richardson Corporation, 4, 164, 206
Deca-Source Lighting System, 57, 57
DecaLight, 57
5K tungsten PARs, 45, 45
Focal Spot, 65, 66
lighting equipment of, 36, 40, 42–43, 42, 45, 45, 47, 47, 49, 49, 50, 52, 53, 54, 56, 57, 57, 62, 65, 66, 68
Maxi-Spacelite, 56
MaxiCoop, 54
Mickey Mole, 49, 68
Mighty Mole, 49, 206
mini-brutes, 68
Mini-Mole, 68, 164
MoleBeam Projector, 42–43, 42
Moleeno Molepar, 47, 47
Molequartz 1K nook, 50
Molequartz Spacelite, 54
Molite, 62
Molorama, 50
1K PAR can, 45, 45
Skypan, 49
soft lights, 52, 53
monitors, 77, 83–85, 141, 143
“moon box,” 208
moonlight, 61, 64, 97, 203, 209, 210–11, 210, 211, 219, 220
Morgan, Keith, 128
movies, learning to light and, 229
moving lights
lighting equipment and, 43–44, 61
lighting a scene and, 168, 187
location lighting and, 200, 208, 218, 219, 222
strategy of lighting and, 115
Mullen, M. David
backlights and, 110–11
digital cameras and, 73–75, 84
fill lights and, 105–6
image manipulation and, 84, 96–97
key lights and, 102–3
lighting equipment and, 27–28, 32, 37–38, 39, 40–41, 43, 45, 56, 58, 60–61, 64–65
lighting a scene and, 147–48, 151, 161, 179, 185, 188
location lighting and, 207–8, 219–20, 227
monitors and, 84
strategy of lighting and, 127–28
multiple lights
lighting equipment and, 46
lighting a scene and, 148
location lighting and, 212, 214
Musco Lights, 51, 52
muslin
fill lights and, 106
lighting equipment and, 53, 53, 54, 55, 67
lighting a scene and, 168, 181
location lighting and, 211, 214, 217, 218, 220
strategy of lighting and, 127, 129, 130, 130, 134, 162
Mylar, 213
naturalism, 153, 155
negatives
digital cameras and, 73–74, 75
image manipulation and, 92, 93
location lighting and, 195, 204, 221
measuring and evaluating light and, 78, 79
strategy of lighting and, 139, 142
neorealism, 2
nets
face lighting and, 178
fill lights and, 107
image manipulation and, 72, 86–91, 101
lighting equipment and, 30, 63, 65, 67
lighting a scene and, 156, 159, 164, 165, 173, 178
location lighting and, 195, 198, 222
strategy of lighting and, 121, 122–23
New York, New York (movie), 206
night-for-night filming, 204–13
night lighting
exteriors and, 44–45, 46, 50, 52, 106, 116, 140, 151, 166–67, 168, 191, 221
face lighting and, 178
fill lights and, 106
for interiors, 116, 125, 140, 159–61, 164, 180
interiors and, 116, 125, 140, 159–61, 164, 180
lighting equipment and, 38, 44–45, 46, 50, 51, 52, 55
lighting a scene and, 151, 159–61, 162, 164, 166–67, 168, 178, 180
location lighting and, 191, 221, 222–23, 224, 225, 226, 227
strategy of lighting and, 116, 117, 125, 140
See also vehicle lighting
Nila lights, 34
nine-light fixture, 46, 104, 198, 216, 224
Nine (movie), 42, 57
nook lights, 11, 50, 50, 53, 53, 54, 55
Norma Rae (movie), 6
Nykvist, Sven, 1, 107, 119–20
Oberon, Merle, 186
“Obie” lights, 186
One from the Heart (movie), 7
Opal lights, 38, 55, 127, 169
open-face lights/fixtures
HMI globes and, 36
lighting equipment and, 34, 36, 44, 49–62, 49, 52, 61, 62, 68
lighting a scene and, 148
strategy of lighting and, 114, 128
tungsten lights and, 25
overhead lighting
learning to light and, 229
lighting equipment and, 52–53, 60, 67, 68
lighting a scene and, 160, 161, 162, 163, 168
location lighting and, 193, 195
overlighting, 205
P56 Lighting: Alpha 18 of, 35, 35
packages, lighting, 57, 68–69
painters/photographers
face lighting and, 170, 179
knowledge of, and collaboration in filmmaking, 5–6, 17
learning to light and, 228, 229, 230
selection of cinematographers and, 3
Panavision cameras, 73, 74, 84, 88, 141, 142. See also Genesis cameras
panning, 41, 52, 87, 98, 203
pantyhose, 90, 91
paper lanterns
lighting a scene and, 161
See also China balls
PAR (parabolic aluminized reflector) lights
backlights and, 111
and compact lights, 62
in light packages, 68, 69
lighting equipment and, 34, 36, 38, 44–49, 45, 47, 51, 62
location lighting and, 209, 213, 214, 221, 223
and open-face and area lights, 52
soft light and, 54
strategy of lighting and, 130, 130, 131, 134
ParaBeams, 29
peanut bulbs, 164, 212
Penn, Robin Wright, 222
PentaLight, 57
personality: collaboration in filmmaking and, 12–13, 22–23, 24
Pfister, Wally, 41, 46, 104, 149, 189, 221
phosphorus pads, 222–23
photofloods. See flooding
Picnic (movie), 3
pictorialism, 153
picture monitors, 77, 83–85
pixels, 140
Plannette, James
backlights and, 112
and collaboration in filmmaking, 11–12
fill lights and, 106
image manipulation and, 90
lighting equipment and, 41, 44–45, 49–50, 55
lighting a scene and, 153, 164–65, 170, 183, 189
location lighting and, 205, 207, 210–11, 221–22
strategy of lighting and, 130, 136–37, 139
plastic, 127, 129, 174, 195, 197, 214, 216, 220, 227
pola screens, 185, 224
Polanski, Roman, 225
Polish, Mark, 73
Polish, Michael, 73
poor man’s process, 218, 219, 221, 222
Porter, Christopher, 209
postproduction stage, 101, 142
power supply, 26, 39, 69–71, 192, 220. See also specific piece of equipment
Power Window, 97
practical lights
backlights and, 110
collaboration in filmmaking and, 11
image manipulation and, 85
lighting equipment and, 27, 63, 64
lighting a scene and, 147, 153, 157, 159–60, 160, 162–67, 163, 166
location lighting and, 211, 213, 219
sp
ecial, 164–67
strategy of lighting and, 113, 116, 124
and style of cinematographer, 2
precalls, 151
preproduction stage
collaboration in filmmaking and, 13
image manipulation and, 75, 94
location lighting and, 191–92
planning for lighting a scene in, 146, 150, 151, 181
testing during, 75, 94
The Prestige (movie), 189
Prieto, Rodrigo, 30, 106, 139, 144, 146, 206–7, 209, 218, 222
prints/printing
image manipulation and, 93–95
location lighting and, 204, 205
timing of, 72
process screen, 225
process shots, 169–70
processing, image manipulation and, 92–93
producers, 12, 96, 185, 189, 202. See also type of producer
production designers, 11, 12, 169
production manager, 193, 203
production time, 14
psychology, 182
pull-processed film, 72, 93, 139, 222
push-processed film, 72, 92–93, 139, 213, 214
quality, light, 2, 123, 126. See also hard light; soft light
quartz lamps. See tungsten
rear projection, 224, 225
recess lights, 63
reflected-light meter, 77, 80, 81, 82, 83, 200
reflectors/reflections
collaboration in filmmaking and, 23
double, 206
eye light and, 186, 187, 187, 188
face and skin lighting and, 175–76, 179, 183–84
learning to light and, 230–32
lighting equipment and, 41, 47, 48, 48, 49, 53, 54, 56, 57, 61, 63
lighting a scene and, 162, 167, 175–76, 179, 183–88, 187
location lighting and, 196, 197–98, 203, 205, 206, 209, 211–15, 219, 221, 223–24, 225, 227
strategy of lighting and, 114, 125, 133
See also type of reflector/reflection
rehearsals, 14–17, 121, 149, 152
remote controls, 43, 44, 52, 70. See also dimmers
Requiem for the Dream (movie), 30
reversal stock, 142
reverse shots, 194, 198
Rifa lights, 38, 58–59, 58, 59, 180
rigging
collaboration in filmmaking and, 14
lighting equipment and, 31, 39, 41, 43, 44, 47, 54, 64
lighting a scene and, 146, 150–51, 152
location lighting and, 205
pre-, 14, 64, 147, 150–51, 152, 205
rim light/rimmers, 108, 109, 110
Roberts, Julia, 55, 208
Roizman, Owen, 198
rope light, 220, 227
Rosco Manufacturing, 31, 53, 57, 67, 85, 124, 207–8, 214, 220, 220, 222
run-throughs, 152
Save the Tiger (movie), 225
Savides, Harris, 10, 22, 48–49, 106, 132, 150, 222
Scarface (movie), 9, 169
scene, lighting a
beauty lighting and, 180–82
close-ups and, 154–57, 174, 176, 178, 179, 184–86
eye light and, 186–90
face lighting and, 170–80, 171, 172, 173, 174, 175, 176, 177, 180
lighting approach to, 144–51
long shots and, 154–57
mirrors and, 167–69
practical lamps and, 147, 153, 157, 159–60, 162–67
process shots and, 169–70
skin lighting and, 182–84
and sources of light, 151–54
and treatment of walls, 161–62
Schlesinger, John, 8, 16
scoops, 49
Scott, Ridley, 137–38
Scott, Steven, 84–85, 96, 97–98, 100, 101
screen ratios, 18–19
screens, 88
scrims
image manipulation and, 90
lighting equipment and, 45, 63, 65, 66–67, 68
lighting a scene and, 148, 156, 175, 186, 189
location lighting and, 195, 198, 202, 214
strategy of lighting and, 120, 121, 122–23, 122, 133, 133
scripts
and collaboration in filmmaking, 3–4, 5, 10, 21, 23, 24
film style and, 5
importance of, 3
lighting a scene and, 149, 151
and selection of scripts by cinematographers, 3–4, 232
self-esteem of artist and, 232
sealed-beam lights, 48, 198
secondary lights, 103
Sellers, Peter, 169
Serra, Eduardo, 27
set designers, 2, 159, 169
set dresser, 215
Set Lighting Technician’s Handbook (Box), 69
sets
art director and, 11–13
collaboration in filmmaking and, 8, 11–13, 14–17
rehearsals on, 14–17
serving the story and, 8
shape of, 11
tests of lighting and, 13
See also art directors
setups, filming, 16, 151
seven-minute drill. See book light
Sextette (movie), 178
The Shadow (movie), 187
shutters, 63, 65
side lighting, 162, 197
siders, 66, 115, 128
silk
accessories to luminaires and, 67, 68
collaboration in filmmaking and, 9
lighting equipment and, 53, 67, 68
lighting a scene and, 162, 183
location lighting and, 193, 194, 195, 197, 198, 218, 221
strategy of lighting and, 123, 129
silver surfaces/reflectors, 54, 131, 132, 154, 197, 203, 213
skin color
collaboration in filmmaking and, 13
lighting equipment and, 37
lighting a scene and, 182–84
location lighting and, 207, 209
skirts, 53, 53, 54, 56, 161, 162, 210
skypans, 49
Slocombe, Douglas, 3, 118, 228
“smart side” lighting, 103, 147
smoke, 40, 41, 43, 91–92, 92, 218
snap-on controls, 63
snoots, 39, 65, 66, 66, 186, 187, 189
Soderbergh, Steven, 11, 221
sodium vapor lights, 207
soft light
accessories to luminaires and, 66, 67
anatomy of lighting and, 102, 105, 108, 110
blending of hard and, 118
box-type, 123–24
commercial, 67
composition and, 17
control of, 66, 115
face lighting and, 171, 177–78, 177, 178
function of, 22
hard light versus, 113–19
image manipulation and, 119
lighting equipment and, 27, 31, 32, 35, 38, 39, 46, 54, 54, 55, 56, 58, 59, 60
and lighting in opposition to subject matter, 9
lighting a scene and, 154, 155, 156, 157, 159, 161, 162, 163, 166, 167, 169, 170, 171, 174, 174, 177–78, 177, 180, 181, 184, 188
location lighting and, 194, 199, 205, 209, 218, 219–20, 221, 223, 226
overcast sky as softest source of, 113
popularity of, 115, 116
strategy of lighting and, 113–19, 120–21, 123–33, 124, 125, 126, 131, 140
as a type of lighting equipment, 52–61
using and controlling, 123–33
variations of, 117
See also backlights; fill lights; key lights
softbox
lighting equipment and, 31, 52–53, 53, 63
lighting a scene and, 155, 161, 162, 174
location lighting and, 209–10
strategy of lighting and, 114, 134
SoftSun (Luminys), 50–51, 51
Solaris (movie), 11
Sony cameras, 73, 74, 75
Sophie’s Choice (movie), 105, 108, 109, 118, 134, 135, 136, 145, 152, 163
The Sound of Music (movie), 12
Sounde
r (movie), 6
soundman, 121
Source Four (ETC)
backlights and, 111, 112
lighting a scene and, 161, 181
strategy of lighting and, 127
as type of lighting equipment, 37–38, 37, 40, 45, 46, 69
source lights
key lights and, 102–3
lighting equipment and, 31, 38, 39, 52, 59
lighting a scene and, 148, 151–54, 156, 159, 160–61, 162, 163, 163, 164, 175, 180–81, 184, 185, 188
location lighting and, 197, 205, 206, 207, 209, 212–13, 215, 217, 223, 226
multiple, 103
strategy of lighting and, 113–19, 125, 140
See also fluorescent lights; HMI; LED; tungsten
sourcey light, 116
space blanket, 131
space lights, 31, 54, 54, 56
special effects, 10, 95, 231
specular lights, 184
Spielberg, Steven, 5, 21
Spinotti, Dante, 9–10, 29, 75–76, 146–47, 188
split diopters, 19
spot meters, 76, 77, 80–81, 82, 84, 91, 200, 202
spotlights/spotting, 35, 37–39, 40, 43, 45, 46, 48, 51, 52, 114, 205, 229
Spun Glass, 116, 117
stand-ins, 146, 147, 152
State of Play (movie), 139, 207, 222
Steadicam, 151, 208
stick-up lights, 62
sticks, 66, 120
still photography, 5, 83, 132, 170, 192, 228–29, 230
Storaro, Vittorio, 7
story arc, 149
storyboards, 14
strategy, lighting, 113–43
ambient light and, 133–34
controlling hard light and, 119–23
digital video and, 139–43
and hard versus soft lighting, 113–19
key lights and, 134–35
for multiple cameras, 137–39
and studio versus location lighting, 135–37
using and controlling soft light and, 123–33
street scenes
lighting equipment and, 44, 55–56, 69
location lighting and, 191, 204–9, 221, 222, 224, 225
strategy of lighting and, 136
streetlights, 103, 108, 135, 205–6, 207, 208, 221, 225
strip lights, 57
strobe lights, 132
studios
lighting a scene and, 157–59
strategy of lighting and, 135–37
style
acting, 117–18
film, 4–7, 8, 21
lighting, 2, 96
sun
collaboration in filmmaking and, 9
as hard source of light, 113
learning to light and, 230
lighting equipment and, 37, 40, 41, 42, 45, 48–49, 61, 67
lighting a scene and, 152, 158, 159, 175, 179
location lighting and, 193–95, 194, 196, 197–201, 203, 211, 213, 214, 215, 220, 222, 224, 225
strategy of lighting and, 116, 126
and style of cinematographer, 9
sunrise, 201
sunset filming, 199–202
SureFire flashlight, 165
Swanson, Gloria, 89
Sweet Smell of Success (movie), 3
Film Lighting Page 39