Lighting Seminar 2

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Department

The subject provides Department of Cinematography

Contents

Course Content:

Functions of light in filming:

1. Light as the fundamental technical prerequisite for creating an optical image
2. Light as a source of information regarding the properties of objects within the scene—specifically their texture and reflectivity
3. Light as a means of artistically stylizing the optical image
4. Continuity

Light:

From a cinematographer's perspective, light and its exposure effect can be evaluated based on three aspects:

1. Quality

a) quality determined by spectral composition,

b) quality determined by the nature of the light source (point source vs. diffuse source).

1. Direction

a) enhancing or suppressing the perception of spatial depth in the image

b) reinforcing or obscuring the perception of the actual shapes and volumes of the objects being filmed.

1. Intensity

a) intensity of a single source and modification via distance

b) composition of intensities from multiple sources: key light, fill light, and accent/auxiliary light.

Practical exposure measurement:

1. Analysis of scene lighting ratios using a lux meter
2. Analysis of scene lighting based on luminance structure—spot metering

Light sources and lighting fixtures:

1. Means of altering the spectral composition of artificial light sources
2. Means of altering the character of the light (diffusers, grids)
3. Control of the emitted light beam characteristics: convergence vs. divergence

Basic lighting concepts:

Surface reflectance factor, exposure effect, exposure lighting, lighting ratio

Methodology for designing stage lighting:

1. Style imitating primary lighting reality
2. Style of professional convention – a departure from strict lighting logic
3. Lighting activity serving to reinforce meaningful gestures within the dramatic effect, including the creative application of both aesthetic values ​​and an unconventional character

GUIDELINES FOR PRACTICAL EXERCISES – seminar LIGHTING 1 + 2

• All images in black and white

• No post-production: brightness adjustments only; no local masking, no contrast correction

• Use a spot meter and keep a log (record). Take behind-the-scenes (BTS) shots during the shoot.

• Submit successful final photographs that result from testing, experimentation, and discovery. Each photograph should be a unique work with its own atmosphere and setup, not merely a variation.

• Lighting, composition, camera angle, subject choice, styling, etc., should express the author's intent: these are not technical tests, but artistic explorations.

• Students shoot using their own digital cameras with manual control over all functions. • Naming convention: firstNameLASTNAMEyymmdd a.jpg (use a, b, c for variants)

Example: AdamEVA221105a.jpg

• Maximum size: 1 MB

• Format: JPG

PORTRAIT AT THE WINDOW – analogue shots taken in a studio or other setting

Mastering creative exposure that combines interior and exterior elements

The key is understanding exposure: the outdoor scene will be overexposed, while the interior will be underexposed. Only a relatively small part of the face will be „correctly“ exposed—this is the element to work with. It may seem simple at first glance, but once you delve into the subject, you will realise how complex the situation actually is. It involves the fundamentals of creating lighting moods and atmospheres—a cornerstone of a cinematographer's visual expression.

• Contrast is determined by the weather conditions (time of day or night).

• Choice of exterior/interior: building, landscape, forest, etc. / a dark room with a small window versus a large hall with huge windows.

• Option to open the window: the closer the subject is to the outdoor space, the easier the situation becomes. but PLEASE: no stunts…

• NO artificial lighting: use only reflected ambient light

• silhouettes or semi-silhouettes are possible and welcome

• students shoot using an analog camera with manual settings for all functions

• shot on 5222 negative film, followed by scanning

submission of three successful final images:

a) atmosphere 1

b) atmosphere 2

c) stylised image

submission deadline: rolling basis up to the final seminar in February

HANDS – digital images taken in the studio or elsewhere

studies of human hands; expression through gestures; using light as a dramatic element

It sounds simple, but once you dive into this „theme,“ you’ll be surprised!

Back to the studio—working with artificial light sources again. Stylisation is welcome, but the subject must remain recognisable. We see hands constantly, day in and day out, yet we don't really perceive them this way—or at least we rarely realise their expressive potential;

something between nude photography and still life;

subject :: background relationship

subject :: texture relationship

the gesture conveys a specific idea or state of mind / reveals something about the person

Submission of two successful final images:

a) documentary approach

b) stylized image

Submission deadline: rolling basis up to the final seminar in March

STILL LIFE – PACKSHOT – digital images taken in the studio or elsewhere

lighting a reflective object; light sources as part of the composition; choice of framing; abstraction;

still life featuring a reflective object; developing one's own style

the goal is to experiment, gradually grasp the principles of lighting a glossy object, and learn to work intentionally with reflections and keep them under control;

a shiny surface reflects, thus you need to find a different approach to lighting. The light source itself

shows on the surface, so it becomes part of the structure, of the object, of the composition

• something like a “packshot” in modern terms

• examples of objects: glass, bottle, metal objects etc

• stylisation yes, but don’t get too abstract; we still should recognise what it is

• relationship object :: light source :: background :: structure :: composition

to be delivered: three pieces:

a) “high key”

b) “low key”

Deadline for submission: continuously till the last seminar in april

Learning outcomes

The starting point of this seminar is the study and analysis of daytime and non-daytime lighting conditions provided by natural sources. The course then proceeds to introduce the properties of lighting devices in terms of their suitability for simulating both natural and artificial light sources.

Prerequisites and other requirements

Awareness of visual imaging culture.

Physics, and specifically optics, at an appropriate secondary school level.

Basic experience as a cinematographer; ability to handle fundamental filmmaking tasks.

Use of a digital camera with full manual controls.

Use of a light meter and spot meter.

Literature

american cinematographer’s manual

Sven Nykvist, “Reverence for the light” 1997

D. Schaefer and L. Salvato, “Masters of light” 1984

F. Truffaut, “le cinema selon Hitchcock” 1966

K. Malkiewicz, “film lighting” 1986

D. Samuelson, “motion picture, camera and lighting equipment” 1980

Evaluation methods and criteria

Required seminar attendance: 80%

To receive credit, students must submit the required photographs, which must demonstrate that they have understood the lecture material and are able to apply it in practice.

Active participation in the seminar, as well as the accuracy and quality of practical exercises, are prerequisites for receiving a grade.

Note

no

Further information

No schedule has been prepared for this course

The subject is a part of the following study plans

• Cinematography_3_2021 (Required subjects)