Acknowledgments |
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xii | |
Introduction |
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1 | (2) |
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3 | (3) |
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The evolution of motion-picture lighting |
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3 | (1) |
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4 | (1) |
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Working with what you have |
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5 | (1) |
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5 | (1) |
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6 | (18) |
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6 | (1) |
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6 | (1) |
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7 | (1) |
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8 | (3) |
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11 | (1) |
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Lighting test with three subjects |
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12 | (2) |
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14 | (1) |
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14 | (1) |
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14 | (1) |
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15 | (3) |
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18 | (1) |
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19 | (1) |
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20 | (1) |
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Looking for far-side/off-side lighting |
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21 | (3) |
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24 | (11) |
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24 | (1) |
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25 | (1) |
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26 | (1) |
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26 | (2) |
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28 | (1) |
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28 | (2) |
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30 | (2) |
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Dollies and dolly gripping |
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32 | (2) |
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34 | (1) |
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34 | (1) |
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35 | (11) |
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35 | (1) |
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The mystery of how duplexes were wired |
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36 | (1) |
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Tips on searching for separate circuits in an office setting |
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36 | (1) |
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Tips for searching for circuits in homes |
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37 | (1) |
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38 | (2) |
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40 | (1) |
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40 | (1) |
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LEDs rule, tungsten drools |
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40 | (1) |
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41 | (1) |
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41 | (1) |
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Overall strategies for running power |
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41 | (2) |
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Troubleshooting minor electrical problems |
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43 | (3) |
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5 Exposure and compression |
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46 | (12) |
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46 | (2) |
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48 | (1) |
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Issues of scale and geometric progression |
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48 | (1) |
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49 | (1) |
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50 | (1) |
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50 | (1) |
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LUTs and the difficulties of monitoring picture |
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51 | (1) |
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Analyzing the video image |
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51 | (2) |
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53 | (1) |
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53 | (1) |
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53 | (1) |
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54 | (1) |
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Color and LEDs: Thoughts from Kino's Frieder Hochheim |
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54 | (1) |
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LUTs and color: A DP's perspective from Joseph Seif |
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55 | (1) |
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56 | (2) |
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6 Color temperature, the Kelvin scale, and gels |
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58 | (16) |
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58 | (1) |
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59 | (1) |
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Plus Green and Minus Green |
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59 | (1) |
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Why bother using a color temperature meter? |
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60 | (2) |
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Trick question about moonlight |
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62 | (1) |
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63 | (1) |
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Dealing with overhead green-tinged light |
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64 | (2) |
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Gels and color correction |
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66 | (1) |
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Plus Green/Minus Green gels |
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66 | (1) |
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66 | (1) |
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67 | (1) |
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68 | (1) |
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68 | (2) |
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Wrangling acrylic ND panels |
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70 | (1) |
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70 | (1) |
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71 | (1) |
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71 | (1) |
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The art and the science of putting up window gel |
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71 | (1) |
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Additional notes on windows |
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72 | (2) |
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7 Refining portrait lighting and cross keying |
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74 | (12) |
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Far-side key and Rembrandt lighting |
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74 | (2) |
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Contrast ratios for green screen |
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76 | (2) |
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78 | (1) |
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Cross keying for three cameras |
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79 | (2) |
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81 | (1) |
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82 | (1) |
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83 | (1) |
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84 | (1) |
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84 | (2) |
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8 Planning for motion on set |
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86 | (8) |
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86 | (3) |
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89 | (2) |
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Using bigger lights for action |
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91 | (2) |
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93 | (1) |
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93 | (1) |
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94 | (8) |
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94 | (1) |
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95 | (2) |
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97 | (1) |
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97 | (1) |
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98 | (1) |
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99 | (3) |
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10 Choice of lights: 3200K and Kino Flos |
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102 | (13) |
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102 | (1) |
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Overview on choosing lights |
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103 | (1) |
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Lighting selection for a 3200K shoot |
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104 | (1) |
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105 | (3) |
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108 | (1) |
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108 | (2) |
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110 | (2) |
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112 | (1) |
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113 | (1) |
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High-speed shooting with tungsten |
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113 | (1) |
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114 | (1) |
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115 | (16) |
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115 | (3) |
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Big LEDs arrive: the ARRI S360-C |
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118 | (2) |
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120 | (1) |
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LED soft light spill control |
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121 | (1) |
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121 | (1) |
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121 | (1) |
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122 | (1) |
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123 | (1) |
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124 | (1) |
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LED lanterns and China balls |
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124 | (1) |
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125 | (1) |
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126 | (1) |
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126 | (1) |
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The Plus/Minus Green feature |
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127 | (1) |
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Chimera and DoP light banks |
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127 | (1) |
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128 | (1) |
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129 | (2) |
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131 | (6) |
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131 | (1) |
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132 | (2) |
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Flicker-free work with HMIs |
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134 | (1) |
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134 | (2) |
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136 | (1) |
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13 DMX and controlling lights |
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137 | (7) |
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137 | (1) |
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137 | (3) |
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Dimmer packs for tungsten |
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140 | (1) |
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141 | (1) |
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141 | (1) |
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Luminair, Blackout and LumenRadio |
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142 | (1) |
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142 | (1) |
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Strategies for DMX control of lights |
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143 | (1) |
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144 | (11) |
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144 | (1) |
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144 | (1) |
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Pollution of the green-screen frame |
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145 | (1) |
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146 | (1) |
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146 | (2) |
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148 | (1) |
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Digital green vs. Chroma key green |
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148 | (1) |
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Making your own eye with soft goods |
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148 | (1) |
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Edge light with head to toe |
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149 | (1) |
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149 | (1) |
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Creating a silhouette on green |
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149 | (1) |
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Tilting towards daylight shoots on green |
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150 | (1) |
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The battle for stage superiority: LED vs. tungsten |
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151 | (1) |
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151 | (1) |
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151 | (1) |
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151 | (3) |
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154 | (1) |
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154 | (1) |
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15 Daytime exterior lighting |
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155 | (8) |
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155 | (1) |
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156 | (1) |
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157 | (1) |
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158 | (2) |
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Taking your shower curtain outside |
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160 | (1) |
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160 | (3) |
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163 | (6) |
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163 | (2) |
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165 | (1) |
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Dealing with street and ambient light |
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165 | (1) |
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Problems with working all night |
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165 | (2) |
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167 | (2) |
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17 Types and genres of lighting |
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169 | (14) |
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169 | (1) |
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169 | (1) |
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170 | (1) |
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170 | (1) |
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170 | (1) |
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Survival strategies for movie-making |
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171 | (1) |
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171 | (1) |
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172 | (3) |
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Angle of incidence factor |
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175 | (1) |
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High-speed cinematography |
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175 | (2) |
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177 | (1) |
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178 | (1) |
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178 | (2) |
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180 | (1) |
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181 | (2) |
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183 | (12) |
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Single-phase vs. three-phase power |
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183 | (1) |
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Order in the electrical universe |
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183 | (1) |
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Is single-phase power better than three-phase? |
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184 | (1) |
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185 | (1) |
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When do you need big electrical distribution? |
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185 | (1) |
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186 | (1) |
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Balancing the amperage draw |
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186 | (1) |
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187 | (1) |
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ARRI T12s and 120V vs. 220V |
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187 | (1) |
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The actual cable and distro order |
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188 | (1) |
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188 | (2) |
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190 | (1) |
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Electrical distro for location work |
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191 | (1) |
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191 | (1) |
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Voltage drop and line loss |
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191 | (1) |
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191 | (2) |
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193 | (1) |
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Troubleshooting with banded and distro boxes |
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193 | (2) |
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195 | (4) |
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195 | (1) |
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195 | (1) |
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196 | (1) |
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Generators and sound issues |
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197 | (1) |
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Troubleshooting generators |
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198 | (1) |
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199 | (9) |
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199 | (1) |
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Protocol for cutting and shaping light |
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200 | (3) |
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The importance of sizing gear |
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203 | (1) |
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203 | (2) |
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205 | (2) |
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207 | (1) |
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21 Introducing style to lighting |
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208 | (13) |
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208 | (1) |
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209 | (2) |
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The yin and yang of lighting |
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211 | (1) |
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212 | (2) |
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214 | (1) |
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How LEDs are conquering the lighting world |
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214 | (3) |
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217 | (1) |
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217 | (1) |
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The sleepless elephant in the room |
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218 | (1) |
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219 | (1) |
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220 | (1) |
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221 | (10) |
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221 | (1) |
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221 | (2) |
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223 | (1) |
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The budget presentation for lighting and grip |
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224 | (1) |
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224 | (1) |
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225 | (1) |
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Trying to get it done on time and on budget |
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225 | (1) |
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226 | (2) |
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228 | (1) |
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Aftermath and what is remembered |
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228 | (1) |
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229 | (2) |
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231 | (9) |
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231 | (2) |
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233 | (1) |
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233 | (1) |
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Buying lights vs. renting lights |
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233 | (1) |
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234 | (1) |
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235 | (1) |
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20 reasons to love and hate freelancing |
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236 | (2) |
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238 | (2) |
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240 | (13) |
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Case #1 Green screen for an indie film |
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241 | (2) |
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Case #2 Interview in a theater lobby |
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243 | (3) |
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Case #3 Roundtable discussion |
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246 | (2) |
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Case #4 Interviews in a chem lab |
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248 | (2) |
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Case #5 Spaceship set for a commercial |
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250 | (3) |
Glossary and set vocabulary |
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253 | (44) |
Index |
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297 | |