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E-raamat: Shaping Light for Video in the Age of LEDs: A Practical Guide to the Art and Craft of Lighting 2nd edition [Taylor & Francis e-raamat]

(Gaffer and Lighting Director, USA)
  • Formaat: 300 pages, 8 Tables, black and white; 32 Line drawings, black and white; 188 Halftones, color; 220 Illustrations, color
  • Ilmumisaeg: 23-Sep-2020
  • Kirjastus: Routledge
  • ISBN-13: 9781003010791
  • Taylor & Francis e-raamat
  • Hind: 161,57 €*
  • * hind, mis tagab piiramatu üheaegsete kasutajate arvuga ligipääsu piiramatuks ajaks
  • Tavahind: 230,81 €
  • Säästad 30%
  • Formaat: 300 pages, 8 Tables, black and white; 32 Line drawings, black and white; 188 Halftones, color; 220 Illustrations, color
  • Ilmumisaeg: 23-Sep-2020
  • Kirjastus: Routledge
  • ISBN-13: 9781003010791

A practical, hands-on guide to lighting for video, this book explores how LEDs are changing the aesthetics of lighting and provides students with an indispensable guide to the everyday techniques required to produce professional-quality lighting in the age of LEDs and wireless control options.

The book focuses on first-hand application of technical knowledge, beginning with simple lighting setups and progressing to more complicated scenarios, and features accompanying diagrams, illustrations and case studies to demonstrate their real-world application. Key topics covered include basic three-point lighting, lighting moving actors, set lighting and exposure, instrument selection, bringing style to your lighting, color temperature and the Kelvin scale, exterior lighting, lighting categories and genres, green-screen techniques, money and budgeting, and electricity and electrical distribution. The book also provides guidance on career paths including what a grip does, case studies with photos and diagrams, and an extensive glossary of set terminology to introduce students to the language of filmmaking.

A must-have resource for film and media production students taking classes in lighting and/or cinematography.

Acknowledgments xii
Introduction 1(2)
1 Why we light
3(3)
The evolution of motion-picture lighting
3(1)
The LED revolution
4(1)
Working with what you have
5(1)
Aspirations and reality
5(1)
2 Lighting basics
6(18)
Three-point lighting
6(1)
Motivated light
6(1)
Key light placement
7(1)
Key light softness
8(3)
Age vs. beauty
11(1)
Lighting test with three subjects
12(2)
Fill and fill light
14(1)
Low fill light
14(1)
Backlight
14(1)
Edge light
15(3)
Eye light
18(1)
Eyeglasses
19(1)
Bald and balding heads
20(1)
Looking for far-side/off-side lighting
21(3)
3 Grip equipment basics
24(11)
What is a grip?
24(1)
C-stands
25(1)
History of the C-stand
26(1)
Cutting light
26(2)
The division of labor
28(1)
Gobo heads and arms
28(2)
Learning to grip
30(2)
Dollies and dolly gripping
32(2)
Grip trucks
34(1)
The education of a grip
34(1)
4 Electricity
35(11)
Electrical basics
35(1)
The mystery of how duplexes were wired
36(1)
Tips on searching for separate circuits in an office setting
36(1)
Tips for searching for circuits in homes
37(1)
Plugs and wires
38(2)
20-amp pin connectors
40(1)
Ohms
40(1)
LEDs rule, tungsten drools
40(1)
Costly trip
41(1)
Running power cords
41(1)
Overall strategies for running power
41(2)
Troubleshooting minor electrical problems
43(3)
5 Exposure and compression
46(12)
Exposure
46(2)
F-stops and T-stops
48(1)
Issues of scale and geometric progression
48(1)
Foot-candles and lux
49(1)
Log shooting
50(1)
Darker skin tones
50(1)
LUTs and the difficulties of monitoring picture
51(1)
Analyzing the video image
51(2)
Gamma curves and log
53(1)
Rec. 709 and Rec. 2020
53(1)
LUTs
53(1)
RAW
54(1)
Color and LEDs: Thoughts from Kino's Frieder Hochheim
54(1)
LUTs and color: A DP's perspective from Joseph Seif
55(1)
Art and craft inputs
56(2)
6 Color temperature, the Kelvin scale, and gels
58(16)
Color temperature scale
58(1)
Mixed light
59(1)
Plus Green and Minus Green
59(1)
Why bother using a color temperature meter?
60(2)
Trick question about moonlight
62(1)
Film vs. video
63(1)
Dealing with overhead green-tinged light
64(2)
Gels and color correction
66(1)
Plus Green/Minus Green gels
66(1)
Theatrical gels
66(1)
Diffusion gels
67(1)
Smoke/fog as diffusion
68(1)
Neutral density gel
68(2)
Wrangling acrylic ND panels
70(1)
Windows
70(1)
ND gel for windows
71(1)
Shootable double net
71(1)
The art and the science of putting up window gel
71(1)
Additional notes on windows
72(2)
7 Refining portrait lighting and cross keying
74(12)
Far-side key and Rembrandt lighting
74(2)
Contrast ratios for green screen
76(2)
Cross keying
78(1)
Cross keying for three cameras
79(2)
Cross keying for drama
81(1)
Softening the key
82(1)
Softer backlight
83(1)
Negative fill
84(1)
Key placement for drama
84(2)
8 Planning for motion on set
86(8)
Moving actors
86(3)
Moving camera
89(2)
Using bigger lights for action
91(2)
Verite style for docs
93(1)
Summary
93(1)
9 Background lighting
94(8)
Framing the shot
94(1)
Choosing instruments
95(2)
Single-source lighting
97(1)
Practicals
97(1)
Windows
98(1)
Set design
99(3)
10 Choice of lights: 3200K and Kino Flos
102(13)
Budgets and negotiation
102(1)
Overview on choosing lights
103(1)
Lighting selection for a 3200K shoot
104(1)
Baby vs. junior
105(3)
Kino Flo bulb lights
108(1)
Sign of the times
108(2)
More tungsten
110(2)
Chimera banks
112(1)
Dimming for tungsten
113(1)
High-speed shooting with tungsten
113(1)
Tungsten summary
114(1)
11 LED lights
115(16)
LED revolution
115(3)
Big LEDs arrive: the ARRI S360-C
118(2)
LED dimming control
120(1)
LED soft light spill control
121(1)
DedoLEDs
121(1)
The LED explosion
121(1)
LEDFresnels
122(1)
LED spacelights
123(1)
Feature creep
124(1)
LED lanterns and China balls
124(1)
LED PARS
125(1)
LED lekos
126(1)
LED tubes
126(1)
The Plus/Minus Green feature
127(1)
Chimera and DoP light banks
127(1)
High-speed shooting
128(1)
LED summary
129(2)
12 HMIs
131(6)
HMI history
131(1)
Safety issues
132(2)
Flicker-free work with HMIs
134(1)
HMI problems
134(2)
HMI summary
136(1)
13 DMX and controlling lights
137(7)
What is DMX?
137(1)
DMX for tungsten
137(3)
Dimmer packs for tungsten
140(1)
Camlok connectors
141(1)
DMX for LEDs
141(1)
Luminair, Blackout and LumenRadio
142(1)
Astera pixel control
142(1)
Strategies for DMX control of lights
143(1)
14 Green and blue screen
144(11)
A bit of history
144(1)
2K spacelights
144(1)
Pollution of the green-screen frame
145(1)
Daylight stage shoots
146(1)
LED spacelights
146(2)
Good and bad eyes
148(1)
Digital green vs. Chroma key green
148(1)
Making your own eye with soft goods
148(1)
Edge light with head to toe
149(1)
Floor light
149(1)
Creating a silhouette on green
149(1)
Tilting towards daylight shoots on green
150(1)
The battle for stage superiority: LED vs. tungsten
151(1)
Location issues
151(1)
Feet/shoes framed out
151(1)
Feet/shoes in frame
151(3)
Myths and half-truths
154(1)
The future
154(1)
15 Daytime exterior lighting
155(8)
Scaling and crewing
155(1)
Reflectors outside
156(1)
Quality and cost
157(1)
Skinning frames
158(2)
Taking your shower curtain outside
160(1)
Tips for day exteriors
160(3)
16 Nighttime exteriors
163(6)
Scaling
163(2)
Condors
165(1)
Dealing with street and ambient light
165(1)
Problems with working all night
165(2)
Tips for night exteriors
167(2)
17 Types and genres of lighting
169(14)
Trends in lighting
169(1)
Broadcast
169(1)
Sitcoms
170(1)
Long-form TV drama
170(1)
Feature films
170(1)
Survival strategies for movie-making
171(1)
Commercials
171(1)
Tabletop
172(3)
Angle of incidence factor
175(1)
High-speed cinematography
175(2)
Music videos
177(1)
Fashion lighting
178(1)
Corporate videos
178(2)
Documentaries
180(1)
My personal approach
181(2)
18 Advanced electrical
183(12)
Single-phase vs. three-phase power
183(1)
Order in the electrical universe
183(1)
Is single-phase power better than three-phase?
184(1)
Hertz
185(1)
When do you need big electrical distribution?
185(1)
Laying out power cords
186(1)
Balancing the amperage draw
186(1)
Paper amps
187(1)
ARRI T12s and 120V vs. 220V
187(1)
The actual cable and distro order
188(1)
What is banded cable?
188(2)
Distro boxes
190(1)
Electrical distro for location work
191(1)
SO cable
191(1)
Voltage drop and line loss
191(1)
Banded and distro
191(2)
Running 60A/220V cable
193(1)
Troubleshooting with banded and distro boxes
193(2)
19 Generators
195(4)
Sizing generators
195(1)
Hertz
195(1)
Balancing the load
196(1)
Generators and sound issues
197(1)
Troubleshooting generators
198(1)
20 Advanced gripping
199(9)
Key grips
199(1)
Protocol for cutting and shaping light
200(3)
The importance of sizing gear
203(1)
Knots you should know
203(2)
Speedrail
205(2)
The Cardellini clamp
207(1)
21 Introducing style to lighting
208(13)
Where to start
208(1)
Feedback
209(2)
The yin and yang of lighting
211(1)
Bokeh and depth of field
212(2)
Booklights
214(1)
How LEDs are conquering the lighting world
214(3)
22 Set safety
217(1)
Common sense
217(1)
The sleepless elephant in the room
218(1)
Working conditions
219(1)
Crew solidarity
220(1)
23 Money vs. aesthetics
221(10)
Who has the money?
221(1)
The first conversation
221(2)
The second conversation
223(1)
The budget presentation for lighting and grip
224(1)
Feedback
224(1)
Scaling up
225(1)
Trying to get it done on time and on budget
225(1)
$ vs. $$$$
226(2)
Oops!
228(1)
Aftermath and what is remembered
228(1)
Mistakes and compromises
229(2)
24 Freelancing
231(9)
Scouting and crewing
231(2)
Deal memos
233(1)
Super-sizing the shoot
233(1)
Buying lights vs. renting lights
233(1)
Big-picture thoughts
234(1)
Career paths
235(1)
20 reasons to love and hate freelancing
236(2)
A code for freelancers
238(2)
25 Case studies #1-5
240(13)
Case #1 Green screen for an indie film
241(2)
Case #2 Interview in a theater lobby
243(3)
Case #3 Roundtable discussion
246(2)
Case #4 Interviews in a chem lab
248(2)
Case #5 Spaceship set for a commercial
250(3)
Glossary and set vocabulary 253(44)
Index 297
Alan Steinheimer has 30 plus years of filmmaking experience, with 25 years of lighting as a gaffer and lighting director in San Francisco Bay Area. His resume includes feature films such as The Darwin Awards, documentary and corporate work, commercials, and music videos such as Britney Spears Oops, I Did it Again. He appears regularly as a guest expert in the Meet the Gaffer series on YouTube.