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Index
Motion Picture and Video Lighting, Second Edition
Copyright Page
Table of Contents
The History of Lighting
Controllable Light
Early Film Production
Introduction of Tungsten Lighting
The Technicolor Era
HMI, Xenon, Fluorescent, and LED Sources
Kino Flo and LED
Lighting Sources
Fresnels
Tungsten Fresnels
The 10K and 20K
The 5K
Juniors
1K
650, Betweenie, and InBetweenie
Inkie
HMI Units
12K and 18K
6K and 8K
4K and 2.5K
Smaller HMIs
When an HMI Fails to Fire
Xenons
Brute Arc
Open-Face Lights
Skypan
2K Open Face
1000-/600-/650-Watt Open Face
PAR 64
PAR Groups
Dino, Moleeno, and Wendy
MaxiBrute
FAYs
Ruby 7
HMI PARs
Soft Lights
Studio Softs (8K, 4K, and 1K)
Cone Lights
Space Lights
Fluorescent Rigs
Color-Correct Fluorescent Units
Color-Correct Bulbs
Cycs, Strips, Nooks, and Broads
Miscellaneous
Chinese Lanterns
Crane-Mounted Lights
Source Fours
Sunguns
Softboxes
Jokers
LED Panels
Dedo Lights
Balloon Lights
Barger Baglight
Scrims and Barndoors
Spacelights and Chicken Coops
Fundamentals of Lighting
What Do We Expect Lighting to Do for Us?
Mood and Tone
Full Range of Tones
Color Control and Color Balance
Adding Shape, Depth, and Dimension to a Scene
Shape
Separation
Depth
Texture
Exposure
Directing the Eye
The Lighting Process
The Process
What Are the Requirements?
What Tools Do You Have?
What's the Schedule?
What Are the Opportunities
How to Be Fast
Lighting Fundamentals
The Basic Elements
Quality of Light
Hard/Soft
Other Qualities of Light
Direction Relative to Subject
Altitude
High Key/Low Key (Fill Ratio)
Specular/Ambient
Relative Size of Radiating Source and Lens
Modulation/Texture
Movement
Subject/Texture
Basic Scene Lighting
Medieval Knights Around a Campfire
The Plan
Flicker Effect
Group Scene with Fire
Science Fiction Scene
Film Noir Scene
Aces and Eights
Detective Scene
Young Inventor
Miscellaneous Scenes
Potter
Beauty Shot
Pool Room
Pool Room CU
Intimate Room Scene
Black Cross Keys (Sitcom Lighting)
Reality Show Set
In or Out
Day Exterior
From Under the Floor
Ambient from Above
Confessions: Training Scene
Confessions of a Dangerous Mind: Alley
Creating an Exterior in the Studio
X-Men Plastic Prison
Stage Rigging
Large Night Exterior
Complex Stage Set
Lighting HD, DV, and SD Video
The Video Engineer and DIT
The Waveform Monitor
The Vectorscope
Iris Control
Electronic Pushing
White Balance
Transferring Film to Video
Lighting for Multiple Cameras
Monitor Setup
Monitor Setup Procedure
The PLUGE
Camera White Balance
Establishing a Baseline
The Test Chart
Exposure Theory
The Bucket
F/Stop
Exposure, ISO, and Lighting Relationships
Lighting Source Distance
ISO/ASA Speeds
Chemistry of Film
Film's Response to Light
The Latent Image
Chemical Processing
Color Negative
Additive vs. Subtractive Color
The H&D Curve
The Log E Axis
What Is a Log?
Brightness Perception
Contrast
"Correct" Exposure
Brightness Range in a Scene
Determining Exposure
The Tools
The Incident Meter
The Reflectance Meter
The Zone System
Zones in a Scene
The Grayscale
Why 18%?
Place and Fall
Reading Exposure with Ultraviolet
The Shutter
Theory and Control of Color
The Nature of Light
Color Perception
The Tristimulus Theory
The Purkinje Effect and Movie Moonlight
Light and Color
Additive and Subtractive Color
Qualities of Light
Hue
Value
Chroma
Color Temperature
The Color Wheel
Color Mixing
Film and Video Colorspace
Color Harmonies and Interaction of Color
Interaction of Color and Visual Phenomena
The Laws of Simultaneous Contrast
Metamerism
The CIE Color System
Standard Light Sources in CIE
Digital and Electronic Color
Control of Color
What Is White?
Color Temperature
Color Meters
Color Balance of Film
Color Balance with Camera Filters
Conversion Filters
Light-Balancing Filters
Correcting Light Balance
CTO
Tungsten to Daylight
Fluorescent Lighting
Correcting Off-Color Lights
Arcs
HMI
Industrial Lamps
Stylistic Choices in Color Control
Electricity
Measurement of Electricity
Potential
Paper Amps
Electrical Supply Systems
Three-Phase
Single-Phase
Power Sources
Stage Service
Generators
Generator Operation
Tie-ins
Tie-in Safety
Determining KVA
Wall Plugging
Batteries
Battery Capacity
Lead Acid
Heavy Antimony
Nicads
Li-Ion and NiMh
Load Calculations and Paper Amps
Ampacity
Color Coding
The Neutral
Distribution Equipment
Tie-ins
Busbar Lugs
Connectors
Bullswitches
Feeder Cable
Wire Types
Distribution Boxes
Lunch Boxes, Snake Bites, Gangboxers, and Four-Ways
Extensions
Planning a Distribution System
Working with AC and DC
Calculating Voltage Drop
VCR
Electrical Safety
Wet Work
HMI Safety
Grounding Safety
Gripology
Light Controls
Reflectors
Operating Reflectors
Flags and Cutters
Flag Tricks
Nets
Net Tricks
Cuculoris
Diffusers
Butterflies and Overheads
Griffs
Holding
Grip Heads
Clamps
Studded C-Clamps
Miscellaneous
The Team and Set Operations
The DP
The Team
The Gaffer
The Best Boy
Third Electric and Electricians
The Key Grip
Grips
Other Crews
Set Operations
The Process
Rough-In
Blocking
Light
Rehearsal
Shooting
Procedures
Lamps and Sockets
Types of Radiating Sources
Carbon Arc
Tungsten
Tungsten–Halogen
Enclosed Metal Arc: HMI
Household and Projector Bulbs
Practical Bulbs
Fluorescent Tubes
Dichroics
Technical Issues
Shooting with HMI Units
The Power Supply
Flicker-Free HMIs
Dimmers
Dimmer Systems On The Set
Working with Strobes
Strobe Exposure
Exposure for Macrophotography
Depth-of-Field in Closeup Work
Lighting for Extreme Closeups
Underwater Filming
Effects
Rain
Smoke
Fire
TV and Projector Effects
Day-for-Night
Moonlight Effects
Water Effects
Lightning
Using Daylight
Lighting for Process Photography
Chroma Key
Greenscreen
Lighting for Process Photography
Greenscreen/Bluescreen Tips
Appendix
Brute Arc Operation
International Plug and Socket Types
Building Your Own Hand Squeezer
Typical Lighting Order for a Small Independent Film
Lighting Order for a Large Studio Film
Acknowledgments
Special Thanks
About the Author
Index
A
B
C
D
E
F
G
H
I
K
L
M
N
O
P
R
S
T
U
V
W
Z
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