Object lighting. video art

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Object lighting

video art

Everything that we see, we see thanks to light - electromagnetic vibrations that affect our visual organ - the eyes.

We see radiation with a wavelength of 380 to 780 millimicrons, which our brain perceives as light and color. Of all the human senses, vision provides him with the greatest amount of information about the world around him.

For this world to be "seen" by a movie camera, the background must also be illuminated. A special light-sensitive film perceives the rays of light reflected from objects, copies of objects and figures that are in front of the lens appear on it. Therefore, it is clear that it is light and shadow that are the main visual means of the cinematographer. The art of cinema is the art of chiaroscuro.

The cinematographer controls the light and shadow effects, determines the direction of the light rays, adjusts their intensity, creates a system of contrasts, selects the general tone of the frame, and each of the components of the lighting solution is part of the composition of the frame. In essence, the composition of the frame is a combination of lights and shadows.

When working on location, the cameraman uses natural light, and indoors he uses artificial light sources that illuminate the object, the space where this object is located, and the background against which the action takes place. In the interior, this is done with the help of devices, which, depending on their purpose, are divided into sources:

drawing light;
fill light;
modeling light;
back (contour) light;
background light.

Leading light is a directed stream of light rays, which creates the basis of the lighting effect, outlines the volumetric shape of figures, reliefs and space of the object being photographed, lays out chiaroscuro and tonal masses.

In order to obtain a black and white pattern with a rich gradation of shadows, it is recommended to place the imaging device at an angle to the optical axis of the lens and above the shooting point.

This position of the device will give a plastic image with pronounced volumes and textures of figures and objects.

The light-and-shadow character of lighting, as in life, is basic, familiar. It can be likened to light distribution on a clear sunny day or on a moonlit night, when only one light source "works", the rays of which fall evenly on the object, forming zones of light and shadow, depending on the shape and relief of this object.

Fill light is a light flux directed from the shooting point along the optical axis of the lens and highlighting areas that were not hit by the beam of the drawing instrument. The intensity of this light flux determines the light-tonal solution of the frame, since the contrast of the image depends on it.

If the filling light source works without a key light source and is the main one that forms the general character of the image, then such a light solution is called tonal. It has an analogy in natural conditions - it is cloudy weather, when there are no shadows on objects. The contrast is minimal. Light and shadows in such lighting can no longer be a factor of emotional impact, although the possibility remains to decide the scene in a dark or light tone. But here the light and color tonal qualities of the objects themselves acquire special significance.

Modeling light is a light beam directed at some part of the object in order to bring out a separate detail, emphasizing its pictorial value.

Back (contour) light gives a device located opposite the camera and directed towards the lens. As a result, a light edging is obtained on the object, which gives the image a picturesque look and well reveals the space.

Background light is the light received from fixtures aimed at the background. The position and intensity of these rays depends entirely on the nature of the interior and the intention of the cameraman.

The instrument layout may look different each time. It all depends on the intention of the cinematographer. The light rays in his hands are like the brushes of an artist, with which he puts paint on the plane of the screen. How he decides to dispose of them is his business. But he must remember that a carelessly placed device sometimes deforms the hero's face with light.

Lighting the subject is a technical and creative process. A flat light output that is used only to take images is commonly referred to as "exposure light".

At the beginning of its journey, cinema was content with just this kind of lighting. But over time, filmmakers have learned to use light as a means of expressing the thoughts and feelings of the characters.

In the composition of the frame, the decisive role is played not so much by the size and shape of objects, but by how they are revealed by light. The nature of lighting can emphasize and hide volumes and textures, change the visual activity of objects falling into the frame, create clear or blurry contours of things and figures. The intensity of light spots and the overall balance of light create the effect of lightness or heaviness, volume or graphic.

The skill of a cameraman working on the pictorial range of a film lies in the ability to create such a light pattern that will give the viewer a set of impressions that reveal the meaning and emotional coloring of the events taking place. And this does not happen in isolation from other creative problems. Light - the scheme of distribution of light fluxes, their intensity, mutual balance - is closely related to the compositional construction of the frame, as it depends on the composition and at the same time affects its character. In this process, one or the other creative task cannot be given priority. They are solved together, in a complex way.

Literature: S. Medynsky "We compose a film frame"

Publication: videospectr.ru

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