MOTION PICTURE AND VIDEO LIGHTING - Elsevier

MOTION PICTUREAND VIDEO LIGHTINGPrelims-K80763.indd i6/20/07 10:09:06 AM

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MOTION PICTUREAND VIDEO LIGHTINGSecond EditionBlain BrownAmsterdam Boston Heidelberg LondonNew York Oxford Paris San DiegoSan Francisco Singapore Sydney TokyoFocal Press is an imprint of ElsevierPrelims-K80763.indd iii6/20/07 10:09:08 AM

Publisher: Elinor ActipisAssociate Acquisitions Editor: Cara AndersonPublishing Services Manager: George MorrisonSenior Project Manager: Dawnmarie SimpsonAssistant Editor: Robin WestonMarketing Manager: Rebecca PeaseCover Design: Dennis SchaeferInterior Design: Dennis SchaeferFocal Press is an imprint of Elsevier30 Corporate Drive, Suite 400, Burlington, MA 01803, USALinacre House, Jordan Hill, Oxford OX2 8DP, UKCopyright 2008, Blain Brown. Published by Elsevier, Inc. All rights reserved.No part of this publication may be reproduced, stored in a retrieval system, or transmitted inany form or by any means, electronic, mechanical, photocopying, recording, or otherwise,without the prior written permission of the publisher.Permissions may be sought directly from Elsevier’s Science & Technology Rights Departmentin Oxford, UK: phone: ( 44) 1865 843830, fax: ( 44) 1865 853333, E-mail: permissions@elsevier.com. You may also complete your request online via the Elsevier homepage(http://elsevier.com), by selecting “Support & Contact” then “Copyright and Permission” andthen “Obtaining Permissions.”Recognizing the importance of preserving what has been written, Elsevier prints its books onacid-free paper whenever possible.Library of Congress Cataloging-in-Publication DataBrown, Blain.Motion picture and video lighting / Blain Brown. — 2nd ed.p. cm.Includes index.ISBN-13: 978-0-240-80763-8 (pbk. : alk. paper) 1. Cinematography–Lighting. 2. Videorecording–Lighting. I. Title.TR891.B76 2007778.5 343–dc222007010633British Library Cataloguing-in-Publication DataA catalogue record for this book is available from the British Library.ISBN: 978-0-240-80763-8For information on all Focal Press publicationsvisit our website at www.books.elsevier.com07 08 09 10 115 4 3 2 1Typeset by Charon Tec Ltd (A Macmillan Company)www.charontec.comPrinted in ChinaPrelims-K80763.indd iv6/20/07 10:09:09 AM

To my wife, Ada Pullini Brown, withoutwhom nothing would ever get done.Prelims-K80763.indd v6/20/07 10:09:10 AM

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Table of contentsThe History of LightingControllable LightEarly Film ProductionIntroduction of Tungsten LightingThe Technicolor EraHMI, Xenon, Fluorescent, and LED SourcesKino Flo and LEDLighting SourcesFresnelsTungsten FresnelsThe 10K and 20KThe 5KJuniors1K650, Betweenie, and InBetweenieInkieHMI Units12K and 18K6K and 8K4K and 2.5KSmaller HMIsWhen an HMI Fails to FireXenonsBrute ArcOpen-Face LightsSkypan2K Open Face1000-/600-/650-Watt Open FacePAR 64PAR GroupsDino, Moleeno, and WendyMaxiBruteFAYsRuby 7HMI PARsSoft LightsStudio Softs (8K, 4K, and 1K)Cone LightsSpace LightsFluorescent RigsColor-Correct Fluorescent UnitsColor-Correct BulbsCycs, Strips, Nooks, and BroadsMiscellaneousChinese LanternsCrane-Mounted LightsSource FoursSungunsSoftboxesJokersLED PanelsDedo LightsBalloon LightsBarger BaglightPrelims-K80763.indd 32336/20/07 10:09:10 AM

Scrims and BarndoorsSpacelights and Chicken CoopsFundamentals of LightingWhat Do We Expect Lighting to Do for Us?Mood and ToneFull Range of TonesColor Control and Color BalanceAdding Shape, Depth, and Dimension to a SceneShapeSeparationDepthTextureExposureDirecting the EyeThe Lighting ProcessThe ProcessWhat Are the Requirements?What Tools Do You Have?What’s the Schedule?What Are the OpportunitiesHow to Be FastLighting FundamentalsThe Basic ElementsQuality of LightHard/SoftOther Qualities of LightDirection Relative to SubjectAltitudeHigh Key/Low Key (Fill Ratio)Specular/AmbientRelative Size of Radiating Source and LensModulation/TextureMovementSubject/TextureBasic Scene LightingMedieval Knights Around a CampfireThe PlanFlicker EffectGroup Scene with FireScience Fiction SceneFilm Noir SceneAces and EightsDetective SceneYoung InventorMiscellaneous ScenesPotterBeauty ShotPool RoomPool Room CUIntimate Room SceneBlack Cross Keys (Sitcom Lighting)Reality Show SetIn or OutDay 70707171727273737376Table of ContentsPrelims-K80763.indd viii6/20/07 10:09:10 AM

From Under the FloorAmbient from AboveConfessions: Training SceneConfessions of a Dangerous Mind: AlleyCreating an Exterior in the StudioX-Men Plastic PrisonStage RiggingLarge Night ExteriorComplex Stage SetLighting HD, DV, and SD VideoThe Video Engineer and DITThe Waveform MonitorThe VectorscopeIris ControlElectronic PushingWhite BalanceTransferring Film to VideoLighting for Multiple CamerasMonitor SetupMonitor Setup ProcedureThe PLUGECamera White BalanceEstablishing a BaselineThe Test ChartExposure TheoryThe BucketF/StopExposure, ISO, and Lighting RelationshipsLighting Source DistanceISO/ASA SpeedsChemistry of FilmFilm’s Response to LightThe Latent ImageChemical ProcessingColor NegativeAdditive vs. Subtractive ColorThe H&D CurveThe Log E AxisWhat Is a Log?Brightness PerceptionContrast“Correct” ExposureBrightness Range in a SceneDetermining ExposureThe ToolsThe Incident MeterThe Reflectance MeterThe Zone SystemZones in a SceneThe GrayscaleWhy 18%?Place and FallReading Exposure with UltravioletThe 1112114116116117117118119120120120123125125Table of ContentsPrelims-K80763.indd ixix6/20/07 10:09:11 AM

Theory and Control of ColorThe Nature of LightColor PerceptionThe Tristimulus TheoryThe Purkinje Effect and Movie MoonlightLight and ColorAdditive and Subtractive ColorQualities of LightHueValueChromaColor TemperatureThe Color WheelColor MixingFilm and Video ColorspaceColor Harmonies and Interaction of ColorInteraction of Color and Visual PhenomenaThe Laws of Simultaneous ContrastMetamerismThe CIE Color SystemStandard Light Sources in CIEDigital and Electronic ColorControl of ColorWhat Is White?Color TemperatureColor MetersColor Balance of FilmColor Balance with Camera FiltersConversion FiltersLight-Balancing FiltersCorrecting Light BalanceCTOTungsten to DaylightFluorescent LightingCorrecting Off-Color LightsArcsHMIIndustrial LampsStylistic Choices in Color ControlElectricityMeasurement of ElectricityPotentialPaper AmpsElectrical Supply SystemsThree-PhaseSingle-PhasePower SourcesStage ServiceGeneratorsGenerator OperationTie-insTie-in SafetyDetermining KVAWall PluggingBatteriesBattery 152153154154155156157158158Table of ContentsPrelims-K80763.indd x6/20/07 10:09:12 AM

Lead AcidHeavy AntimonyNicadsLi-Ion and NiMhLoad Calculations and Paper AmpsAmpacityColor CodingThe NeutralDistribution EquipmentTie-insBusbar LugsConnectorsBullswitchesFeeder CableWire TypesDistribution BoxesLunch Boxes, Snake Bites, Gangboxers, and Four-WaysExtensionsPlanning a Distribution SystemWorking with AC and DCCalculating Voltage DropVCRElectrical SafetyWet WorkHMI SafetyGrounding SafetyGripologyLight ControlsReflectorsOperating ReflectorsFlags and CuttersFlag TricksNetssNet TricksCuculorisDiffusersButterflies and OverheadsGriffsHoldingGrip HeadsClampsStudded C-ClampsMiscellaneousThe Team and Set OperationsThe DPThe TeamThe GafferThe Best BoyThird Electric and ElectriciansThe Key GripGripsOther CrewsSet OperationsThe 89190190192192193193195196197197198198199Table of ContentsPrelims-K80763.indd xixi6/20/07 10:09:12 AM

LightRehearsalShootingProceduresLamps and SocketsTypes of Radiating SourcesCarbon ArcTungstenTungsten–HalogenEnclosed Metal Arc: HMIHousehold and Projector BulbsPractical BulbsFluorescent TubesDichroicsTechnical IssuesShooting with HMI UnitsThe Power SupplyFlicker-Free HMIsDimmersDimmer Systems On The SetWorking with StrobesStrobe ExposureExposure for MacrophotographyDepth-of-Field in Closeup WorkLighting for Extreme CloseupsUnderwater FilmingEffectsRainSmokeFireTV and Projector EffectsDay-for-NightMoonlight EffectsWater EffectsLightningUsing DaylightLighting for Process PhotographyChroma KeyGreenscreenLighting for Process PhotographyGreenscreen/Bluescreen TipsAppendixBrute Arc OperationInternational Plug and Socket TypesBuilding Your Own Hand SqueezerTypical Lighting Order for a Small Independent FilmLighting Order for a Large Studio knowledgments245Special Thanks246About the Author247Index249Table of ContentsPrelims-K80763.indd xii6/20/07 10:09:13 AM

Preface to the Second EditionSince the first edition of this book, there have been significant advances in motion picture and video lightingtechnology, and we have tried to include as many of themhere as possible. However, despite the advances in lighting equipment, film stocks, and lenses, and, of course, theintroduction of DV and HD video technology and its acceptance in the professional world, the fundamentals of lightingremain the same. Good lighting is eternal; the basic conceptsof lighting have not changed since they were explored byRembrandt, Caravaggio, and other masters.In this book we attempt to cover both the technology oflighting as well as the aesthetics, the techniques, and the“process”—the thinking and methodology by which a scenegets lit and made ready to shoot.One factor will never change in motion picture, video, andHD production: time is always of the essence. Productioncosts money—usually a lot of money. As a result, theability to be fast is always as important as any other aspectof your performance. This is true whether it is a no-budgetfilm or a large studio film. Ask any Director of Photography;he or she will tell you that the ability to achieve good resultsquickly is crucial to getting and keeping the job.Understanding the process is critical to being fast, butknowing the capabilities of the equipment and being wellversed in how other people have done it before is alsoimportant.On the set, we often tend to work intuitively. As you learnlighting, however, it is important for you to think carefullyabout what you are doing and why you are doing it. This willlay a solid ground under your intuitive decisions later on andwill ultimately give you more confidence. As you work, otherswill be watching you: the director, the AD, the producer, yourcrew. The more confident you are in what you are doing andthe approach you are taking, the smoother things will go.Learning lighting is a life-long pursuit. Few people ever feelthey know it all. The chance to constantly learn, get better,and find new ways of doing things is one of the attractions oflighting; if it were done by formula time after time, it wouldbe a boring job.Whether you are just beginning in the field of motion picture and video lighting or if you have been doing it a while,I hope this book will help you continue in your pursuit ofbetter lighting.Prelims-K80763.indd xiii6/20/07 10:09:13 AM

Brown, Blain. Motion picture and video lighting / Blain Brown. — 2nd ed. p. cm. Includes index. ISBN-13: 978-0-240-80763-8 (pbk. : alk. paper) 1. Cinematography–Lighting. 2. Video recording–Lighting. I. Title. TR891.B76 2007 778.5 343–dc22 2007010633 British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library. ISBN: 978-0-240 .