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BOOKS AND ARTICLES Lighting: basic concepts and practical recommendations on how to work with light when shooting
Properly selected lighting allows you to most fully convey the emotional nature of the scene, the facial expressions of the acting characters, and their environment. It is thanks to lighting that we perceive space and objects on a flat screen as three-dimensional. Lighting professionals in video and television productions play the same important role as sound engineers in radio productions, since it is their skill that will determine the quality of the image. The artistic expression of video (especially HDTV/DTV) and films shot on film is largely determined by the creative approach to lighting. To learn how to properly control light, you need to know its main characteristics, which include coherence (quality), color temperature and light intensity. Light coherence Coherence characterizes the quality of light, its hardness or softness. Unfortunately, it is probably precisely because this property of light cannot be expressed in quantitative units that it is most often simply neglected in filming. hard light The light emitted by a small point source consists of relatively parallel beams. Its structure causes a rigid, clearly defined and sharp representation of the illuminated object. Sources of hard light are electric lamps with clean non-frosted glass, beam spotlights and the sun at its zenith on a clear cloudless day. When illuminated by hard light, the subject casts a well-defined, well-defined shadow. If you illuminate your face with such light, it will reveal and emphasize all the defects, which is unlikely to please the person you are photographing. But if you want, for example, to show the texture of leather or the skillful cutting of a gemstone, then hard light will be the most suitable lighting. To obtain hard light, various lighting devices can be used, including beam or elliptical spotlights. Soft light Soft (diffused) light allows you to hide surface irregularities and image details. This is most effectively done by devices that provide the ability to adjust the width of the angle of the luminous flux. To diffuse and soften the light beam, glass diffusers (diffusers) are usually installed in front of the light sources, but by softening the light, they reduce its intensity. In the production of television programs, soft light sources are used to create large, even light zones. When shooting outdoors, reflectors are used to obtain soft lighting. The simplest of them are folding umbrellas with a white or silver inner surface. Soft light masks lines, wrinkles, and other skin imperfections and should be used when embellishing the subject. If a soft light source is placed near the camera, then we will get low-contrast lighting, which will smooth out all the details on the surface of the object being shot. Such lighting is often used when shooting very close-ups to hide shadows or unnecessary details, but at the same time the subject acquires a certain dimensionlessness and lifelessness. Very soft lighting In some cases, due to the technical capabilities of video equipment, important details may be lost during shooting. To avoid such losses, very soft lighting should be used. The use of very soft lighting, in this case achieved with the help of a light tent, made it possible to convey all the details. And although such complex shooting problems are rare enough, it is still better to know how to deal with them. To obtain very soft lighting, the subject is surrounded on all sides by a white canvas, leaving only a small hole for the lens. The resulting tent is illuminated from three sides, directing light fluxes at different angles. In this part of the course, we looked at two types of lighting: hard and soft. But in practice, when shooting most objects, light sources are used that provide illumination between hard and soft light. But we will talk about this in the next issue. Ten tips for working with light when shooting 1. The lamp that the camera is equipped with emits light that does not improve the appearance of the subject. Such lighting is, of course, very convenient, but if there is an opportunity to use any other lighting, use it. Strive to ensure that the person in the frame turned out to be more beautiful than in life. Modern cameras are sensitive enough that a 25-watt lamp is sufficient to illuminate a speaker or commentator, which will not drain the camera's batteries. But even in daylight, such a lamp will help to slightly illuminate the face if a person is standing next to the camera. To mitigate the adverse effects of the camera illuminator, it should be taken in hand and directed in such a way that the light on the face of the person being shot falls slightly from the side. 2. The best way to place lighting fixtures is three-position. Point the main light at the subject from above, but not directly, but slightly from the side. This light source provides the main illumination and shadows. The second source, which gives soft, diffused light, should also be fixed at the top, but on the other side of the subject. It will give fill lighting that will smooth out the harsh outlines of the shadows. To create a backlight, position the light source behind the person you are shooting so that a light border forms around their hair and shoulders. As a result of this technique, the character will look voluminous on a flat TV screen. If possible, add a fourth light source to your lighting system to serve as background lighting, with which you can use it to change the brightness of the background light located behind the subject in the background. 3. Always pay attention to the color temperature of the light sources used. Remember that fluorescent light has a greenish tint, while conventional incandescent light is slightly reddish (its color temperature is almost 2000K). The light from quartz halogen lamps used in television is also colored in red tones (3200 K). Natural daylight is shifted to the blue region (about 5400 K). Therefore, when a person is illuminated by sources of different types, his skin acquires a very strange color. So, for example, in a person sitting in a room by the window, one side of the face, illuminated by natural daylight, may turn out to be deathly pale, which will make him look like a ghost, and the other side, which is supplied by the artificial lighting of the room, dark. To properly set the color balance of the camera, try to use only one type of lighting fixture for each scene. If, when shooting outdoors or near an open window, you need to fill the dark parts of the scene with incandescent light, then cover them with 1/4 stop or ½ stop gel blue corrective filters, they compensate for the extra red tints. By doing this, the shooting location will be illuminated with bluish light from both sides, and by adjusting the camera's color balance, you will achieve the correct reproduction of skin tones. Lighting in the situation described above can be balanced in another way. For example, cover the window with a large 85V or 1/4 CTO light yellow gel filter so that more warm tones appear in the blue light coming from outside. In this case, the scene will be lit by natural light coming in from the window and incandescent light from inside the room, with similar reddish hues. But placing a blue gel filter in front of standard tungsten-filament incandescent bulbs, which are commonly used in stage sets, significantly reduces their brightness. Therefore, for lighting studio shootings, it is better to use light sources that have a bluish tint and match the color temperature of natural light. Such lamps are called "metal halide" (HMI) and have a color temperature of 5600 K. Since these lamps do not need to be covered with filters, they are twice as efficient as conventional quartz light sources. Metal halide lamps are used to illuminate shadows when shooting on location. In offices, the main source of light is usually fluorescent lamps. Of course, they can be closed with gel filters, as suggested above for incandescent lamps with tungsten filaments, but this would be a huge amount of electricity wasted. But it is better in this case to use such gel filters for fluorescent lamps that convert their color temperature to close to incandescent lamps with tungsten filaments! An even better solution would be to connect special fluorescent lamps, such as the Light-Array type, which are produced by Lowel, Flo Tech, Videssence, etc. Such devices, they are fluorescent tubes assembled into a beam, the brightness of which can be adjusted, are used for additional office space lighting. Other advantages of fluorescent lamps are that they consume half as much energy as incandescent lamps and therefore less noisy and cheaper equipment can be used to cool them. 4. Always make sure you have spare bulbs. It's unforgivable to stop filming because you don't have a spare lamp with you and have to race to get it. 5. When replacing an incandescent tungsten filament lamp in studio lighting fixtures, observe the following rules:
6. Never rearrange working lighting fixtures with a halogen lamp. The incandescent white filament is very sensitive and can be burned out by shock when the illuminator is moved. If the appliance needs to be moved, be sure to first turn it off and wait until the filament has cooled down. 7. Be careful not to exceed the permissible load on the power supply. In residential premises, the electrical network is designed for currents of 15-20 A. In industrial networks, the current strength can reach 30 A, but the load per outlet is still limited to 20 A. A 500 W lamp consumes a current of about 5 A, and a 1000 W lamp - already about 10 A. Add up the loads of all the lighting fixtures used and make sure that you do not exceed the permissible load for the electrical network. You cannot turn on all the lights at the same time: a power surge in the network can knock out the fuses and disrupt the power supply, so turn on the lights one by one. If you have devices that consume a large amount of energy on one circuit, then you should not turn on a computer or a VCR in it. When you turn on the lighting, a voltage drop may occur, which will lead to malfunctions of these devices. 8. Don't forget to bring reflectors when you go on location. They do not require a power supply, and the color temperature of the reflected light is the same as the temperature of sunlight. Large reflectors are able to provide enough light to illuminate shadows. 9. For digital shooting on a blue background (chromakey), lamps covered with amber gel filters can be used for illumination. The background may reflect a small amount of blue light onto the performer, resulting in graininess at the border between the subject and the background. Amber gel filters help neutralize this effect. 10. Reducing the incandescence of a tungsten filament lamp to 10% adds a small amount of red tints to their light spectrum. But with a more significant decrease in heat, the color change becomes already noticeable. To reduce the intensity of the light flux without changing its color, try using the following tricks: take a lamp of a different power, place the lighting device at a different distance from the subject (closer or farther), switch the lighting device operation mode (from directed to flood), install an additional diffuser Sveta.
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