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Motion Picture and Video Lighting / Blain Brown.
- Format:
- Book
- Author/Creator:
- Brown, Blain, author.
- Language:
- English
- Subjects (All):
- Cinematography--Lighting.
- Cinematography.
- Video recording--Lighting.
- Video recording.
- Physical Description:
- 1 online resource (341 pages)
- Edition:
- Fourth edition.
- Place of Publication:
- Abingdon, England : Routledge, [2024]
- Summary:
- "This fully revised and updated fourth edition of Motion Picture and Video Lighting explores the technical, aesthetic, and practical aspects of lighting for film and video. It covers not only how to light, but also why. Written by experienced author and filmmaker Blain Brown, this book emphasizes how the image, the mood, and the visual impact of a film are, to a great extent, determined by the skill and sensitivity of the director of photography in using lighting. It provides an indispensable, highly illustrated and comprehensive guide to making every scene look its best. Key topics include: Lighting sources, the lighting process, lighting basics, LED, tungsten, Kino-Flo, HMI, and plasma lights, methods of controlling light, planning your lighting, the basic methods: a lighting playbook, visual storytelling with light, understanding and controlling color, terminology, electricity and distribution, gripology, set operations, the team: DP, gaffer, grips, lighting technicians, technical issues, lighting for greenscreen/bluescreen, typical equipment orders for large and small jobs, lighting for high speed and macro photography, lighting plans for small, medium, and large films. This new edition has also been expanded to provide further guidance at the introductory level for students and those just starting in their careers. A robust accompanying companion website also includes up-to-date video tutorials and other resources for students and professionals alike"-- Provided by publisher.
- Contents:
- Cover
- Half Title
- Title
- Copyright
- About the Website
- Contents
- 01 Evolution
- The History of Film Lighting
- Controllable Light
- Early Film Production
- Introduction of Tungsten Lighting
- The Technicolor Era
- HMI, Xenon, Fluorescent, and LED Sources
- Kino Flo
- LEDs
- 02 Equipment
- The Toolbox
- Types of Lights
- Fresnels/Open/Soft/Focused/PARS
- Color Control With LEDs
- Advantages of Using LEDs
- LED Panels
- LED Fresnels
- Remote Phosphor LEDs
- Fluorescent Rigs
- Color Correct Fluorescent Units
- Color Correct Bulbs
- HMI Units
- 12K and 18K
- 6K and 8K
- 2.5K and 4K
- Smaller HMIs
- When an HMI Fails to Fire
- Tungsten Fresnels
- Xenons
- Open Face Lights
- Skypan
- 2K Open Face
- 1000/600/650 Watt Open Faces
- PAR 64
- PAR Groups
- HMI PARs
- Soft Lights
- Cycs, Strips, Nooks, and Broads
- Plasma Lights
- Other Types of Sources
- Chinese Lanterns
- Lekos
- Crane Mounted Lights
- Jokers
- Dedolights
- Balloon Lights
- 03 Fundamentals
- Lighting Basics
- The [conceptual] Tools of Lighting
- The Attributes of Light
- Hard vs. Soft
- What Do We Want Lighting To Do For Us?
- Full Range of Tones
- Color Balance
- Shape
- Separation
- Depth
- Texture
- Mood and Tone
- Shadows
- Reveal and Conceal
- Visual Metaphor
- Exposure
- Lighting Terminology
- Basic Principles of Lighting
- Working with Hard Light and Soft Light
- Hard Light
- Soft Light
- Direction
- Avoiding Flat Front Lighting
- Light from the Upstage Side
- Backlight and Kicker
- Intensity
- Texture in Lighting
- Color
- Lighting Techniques
- Classical Hard Light
- Back Cross Keys
- Ambient
- Ambient Plus Accents
- Lighting With Practicals
- Lighting through Windows
- Available Natural Light
- Available Light Windows
- Motivated Light
- Carrying a Lamp
- Day Exteriors
- Fill.
- Silks and Diffusion
- Open Shade and Garage Door Light
- Sun As Backlight
- Magic Hour
- 04 Lighting Scenes
- Lighting Plans
- How to Approach Lighting A Scene
- Read the Script
- Confer With the Director
- Light the Scene, Not the Set
- Insist on Seeing a Full Rehearsal
- What Are the Opportunities?
- The Set
- The Action
- Consider Your Resources
- Time
- Equipment
- Power
- The Location
- The Director's Concerns
- Knights Around a Campfire
- Sci-Fi Scene
- Lighting a Scene With Practicals
- The Same Scene Lit Seven Different Ways
- 05 Light &
- Storytelling
- Storytelling With Light
- Metaphor
- The Power of Darkness
- Establish Character
- 06 Exposure
- What Do We Want Exposure to Do for Us?
- Controlling Exposure
- Change the Bucket
- The Elements of Exposure
- Light
- F/Stops
- The Response Curve
- Underexposure
- Overexposure
- Correct Exposure
- Higher Brightness Range in the Scene
- Two Types of Exposure
- The Bottom Line
- Exposure in Shooting RAW Video
- The Tools of Exposure
- The Incident Meter
- The Reflectance Meter
- A Different World of Exposure
- Setting Exposure with the Waveform Monitor
- F/Stops on the Waveform
- Exposure Indicators in the Camera
- Zebras
- Histogram
- Traffic Lights and Goal Posts
- Traffic Lights
- Goal Posts
- False Color Exposure Display
- Red False Colors
- Arri Alexa False Colors
- Strategies of Exposure
- Don't Let It Clip, but Avoid the Noise
- Texture and Detail
- The Dilemma
- Using Light Meters
- Meter the Key
- Using the Waveform Monitor
- Placing Middle Gray
- Start at the Bottom or Start at the Top
- The Monitor
- Know Thyself and Know Thy Camera
- 07 Using Color
- The Spectrum
- Color Terminology
- Color Temperature: The Balances
- Warm and Cool
- Magenta vs. Green
- The CIE Diagram.
- The Spectral Locus
- The White Point
- The Line of Purples
- Color Balance with Gels and Filters
- Conversion Gels
- Light Balancing Gels
- CTO
- CTB
- Color Correction Gels
- Dealing with Fluorescent Light
- Correcting Off-Color Lights
- HMI
- Industrial Lamps
- Camera Filtration for Industrial Sources
- Color Meters
- The Vectorscope
- Calibration Test Charts
- DSC Labs Test Charts
- The One Shot
- The X-Rite ColorChecker
- Color As a Storytelling Tool
- 08 Controlling Light
- Creating Hard Light and Soft Light
- Scrims and Barndoors
- Flags, Solids, and Nets
- Chimeras and Snoots
- Softboxes
- Eggcrates
- The Window Problem
- Cookies, Celos, and Gobos
- Dimmers
- LED Dimmers
- Hand Squeezers
- 09 Power &
- Distro
- Measurement of Electricity
- Potential
- Paper Amps
- Electrical Supply Systems
- Single-phase
- Three-phase
- Power Sources
- Stage Service
- Generators
- Large Generator Operation
- Guidelines for Running Small Generators
- Paralleling Small Generators
- Tie-ins
- Tie-in Safety
- Determining KVA
- Wall Plugging
- Load Calculations and Paper Amps
- Ampacity
- Color Coding
- The Neutral
- Distribution Equipment
- Tie-in Clamps
- Busbar Lugs
- Connectors
- Bull Switches
- Feeder Cable
- Wire Types
- Distribution Boxes
- Lunch Boxes, Snake Bites, and Gangboxes
- Extensions (Stingers)
- Zip Extensions
- Planning a Distribution System
- Balancing the Load
- Working with DC
- Calculating Voltage Drop
- Electrical Safety
- Wet Work
- HMI Safety
- Grounding Safety
- GFCI
- 10 Gripology
- Definitions
- Light Controls
- Reflectors
- Flags and Cutters
- Flag Tricks
- Nets
- Cuculoris (Cookies)
- Grids and Eggcrates
- Open Frames
- Diffusers
- Butterflies and Overheads
- Griff
- Holding
- Grip Heads and C-Stands
- Highboys
- Clamps
- Studded C-Clamps.
- Bar Clamps
- Pipe Clamps
- Cardellini and Mafer Clamps
- Quaker Clamp
- Wall Plates, Baby Plates, and Pigeons
- 2K Receivers and Turtles
- Side Arms and Offset Arms
- Other Grip Gear
- Sandbags
- Apple boxes
- Wedges
- Candle Sticks
- 11 Effects
- Lighting for Greenscreen and Bluescreen
- Greenscreen/Bluescreen Tips
- Lighting for Process Photography
- Flicker
- The Power Supply
- Flicker-Free HMIs
- Dimmer Systems
- DMX
- Working with Strobes
- Strobe Exposure
- Lighting for High-Speed Photography
- Flicker in High-Speed Photography
- Lighting with HMIs and High-Speed
- Tips for Lighting High-Speed with HMIs
- Exposure for Macrophotography
- Depth-of-Field in Close-up Work
- Underwater Filming
- Effects
- Rain
- Smoke
- Fire
- TV and Projector Effects
- Day-for-Night
- Moonlight Effect
- Water Effects
- Lightning
- Using the Sun
- 12 Set Operations
- The Filmmaking Team
- The DP
- The Team
- Gaffer
- Assistant Chief Lighting Technician
- Third Electric and Electricians
- The Key Grip
- Grips
- Other Crews
- Set Operations
- Load-In
- Staging
- The Generator
- Cabling
- The Process
- Rough-In
- Blocking
- Rehearsal
- Shooting
- Procedures
- Expendables
- 13 Appendix
- Typical Lighting Order for a Small Independent Film
- Equipment Order List for a Large Studio Film
- Order for a 2nd Unit Night Shoot-Big Budget Film
- Lighting/Grip Order-Medium Size Film
- A Typical 5-Ton Truck Package
- Typical One Ton Truck Package
- Lighting Expendables Order Form
- 14 Acknowledgments
- Dedication
- The author
- Index
- Other Books by This Author.
- Notes:
- Includes index.
- Description based on print version record.
- Other Format:
- Print version: Brown, Blain Motion Picture and Video Lighting
- ISBN:
- 9781003334989
- 1003334989
- 9781003811862
- 1003811868
- 9781003811916
- 1003811914
- OCLC:
- 1390707493
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