Discover which type of lighting instruments will give you the look you want, how to determine contrast ratios, and much more! DVD2 Lighting Interviews provides detailed information for lighting a variety of interviews, ranging from single-camera news and location set-ups to multi-camera studio programs. Learn to improve your ENG lighting, understand HMI daylight balanced lighting, and discover how to make your studio interviews look their best, regardless of the number of on-camera talent! DVD3 Color Correction and Filtration: This program examines the craft of correcting the many different colors of light as it relates to shooting film and video. Learn to gel windows quickly, color correct for fluorescent and mercury vapor lights, and much more. DVD4 Lighting Backgrounds: Every shot has a background, and too often the importance of backgrounds is overlooked.

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File: DJVU, 8. QXD This handbook is designed to help you create the best possible images with your new Arri Lighting Kit. It is intended to help you to use these tools to light a variety of setups for location or studio productions. The two basic types of instruments are the open-faced instrument and the Fresnel-lensed instrument.

Both types of light sources provide a focusable, even beam field of light that can be used to create a wide variety of light qualities and moods for your productions. The quality of light produced by an instrument is determined by the physical size not the intensity of the light source used.

In general, the larger, more diffused the light source, the softer the light quality. Typically, a diffusion material, such as frost or a silk, might be placed in front of a lighting; instrument to increase the working physical size of a light source. When light transmits through a diffusion material, the illuminated diffusion material then becomes the acting light source. A softer, less-defined shadow edge soft light like that of a cloudy day, is most often produced by a larger, more diffused light source, such as a Lightbank available with some Arri Kits.

Attaching frost to the barndoors will soften the light quality slightly. Placing a large diffusion panel silk in front of the source, or bouncing the light off of a white wall, ceiling or white card, will produce a dramatically softer light quality. So, ideally, one should consider the appropriate light quality for a shot or scene prior to setting up the lighting. For example, hard light may not be considered a natural light quality for many interior scenes such as an office with four white walls and overhead fluorescent lighting.

Creating a particular light quality is a judgment call, and there are no wrong or right answers. There are, however, characteristics that are inherent to both hard and soft light, and one must constantly weigh the pros and cons of each prior to lighting a scene. In general, hard light is easily controlled through the use of the barndoors on the fixture, and it can be used to produce dramatic shadows and attractive lighting effects for film or video. When lighting people for interviews with hard light, one must carefully consider the placement of the light source in order to produce appealing results on camera.

An ill-placed Fresnel or open-faced instrument can produce unkind results on even the most photogenic persons. Fresnel-lensed lights produce an attractive light quality and an extremely even field of light, and are the most popular instrument choice when hard lighting is required for studio and location work.

While Arrilites also produce an even beam field, these instruments generally are not used to light people directly. The Arrilite instrument is most often used to create a fill light source, by bouncing light off of walls, ceilings or bounce boards on location , to use with diffusion frost or behind a Lightbank, or to light background areas. When used as a direct source no diffusion , the glass lens on a Fresnel produces a more pleasing quality of light than an open-faced instrument.

The use of softer light sources can be more forgiving when lighting people, but softer, diffused sources can be much more difficult to control. Diffused light disperses in many directions, and although the light quality may be desirable for a particular shot or scene, the uncontrolled spill light from a diffused source can ruin even the best of shots.

This product is a collapsible fabric egg crate that can be quickly attached to the front of a Lightbank. The use of an egg crate on a lightbank provides the user with instant control of spill light with little light loss.

The key light is the main source of illumination and often establishes a light quality, whether hard or soft, for the shot or scene. An Arri Fresnel is often the choice for a key light source due to the ease of use and light control.

Lightbanks also are a popular key light source for interviews. Position of the key light can range from directly above the camera lens to completely behind the subject, depending upon the desired results. When lighting for multiple cameras, it is usually best to place the key lights for optimal results on the close-up camera positions for each subject.

Regardless of the quality of light you choose, the light from the key source should be confined to the subject area if you hope to achieve a dramatic lighting effect for the image. Ideally, the fill light source is a larger, diffused soft light source that will fill in the shadow area to the desired density light level without producing a second, opposing shadow on the subject s.

Think of your fill lighting as ambient light for the shot or scene, and as your visual mood indicator. Use of a large silk, a Lightbank, dense white diffusion material on the barndoors, or bouncing the light off of a white surface wall, bounce board, etc. When shooting only a close-up of a single person, often the spill light from your key source can be directed at a large, white bounce card for a soft, shadowless fill light see examples. The position of the fill light can vary greatly, but normally fill light sources are set either near the camera lens or at a position opposite the key light source.

A separation light is not always necessary, but without the use of this light, it is possible that the subject could blend with the background.

Brightness of the separation light can equal the brightness of the key light source, but for interviews, the separation light is usually less bright than the key. Position of this source can range from directly behind and above the subject to just outside of the frame line to create a side rim-light. As is true with almost all light placements, the effect of the separation light is dramatically altered by its position.

Experiment with different light qualities and placements to find your own favorite look. If careful consideration has been given to the control of spill light in the subject area, the effect of your background light can be quite dramatic. Both Fresnels and Arrilites can be used effectively to light background areas. The following information will help you better identify and manipulate the separate components of reflected light.

The presence of these three densities can reveal shape, form, texture, density and depth. Accurate reproduction of the diffused value often determines a proper exposure. The diffused is a constant, objective value, while the shadow and specular are variable and subjective. The specular highlight is always brighter than the true tone of the object. A properly placed specular highlight will reveal shape and texture on an object.

The shadow is always lower in brightness than the true tone of the object. A properly placed shadow will reveal shape and form on an object. It is the primary indicator to determine the quality of light produced, i.

The specular edge transfer usually defines the surface texture of an object. The smoother the surface, the harder the edge transfer. QXD N O QXD N 24 Discover which type of lighting instruments will give you the look you want, how to determine contrast ratios, and much more! Learn to improve your EFP lighting, understand HMI daylight balanced lighting, and discover how to make your studio interviews look their best, regardless of the number of on-camera talent. Learn to gel windows quickly, color correct for fluorescent lighting, mercury vapor lights and much more.

Also, discover the art of filtration and see how the use of some basic filters can change the look of your productions. This program provides detailed lighting diagrams and dozens of images to demonstrate just how important background lighting can be.

See the tools and techniques used to light both interior and exterior locations and studio sets. Light control techniques and background treatments are explored in depth.


Review: Power of Lighting Workshop By Bill Holshevnikoff

Contact The Power of Lighting Workshops have been attended by professionals from nearly every major U. Digital cameras have changed production … and understanding the craft of lighting is more important now than ever. Lighting for digital still and video demands an understanding of how the new cameras react to light. This ALL-NEW 6-hour workshop will teach you simple, powerful techniques to use creative lighting in the studio and on-location. Minimal gear — dramatic results! Regardless of your level of experience, this new lighting workshop will help you to improve your production values — guaranteed! Learn from live demonstrations and see footage from award-winning commercial work, documentaries, short films and corporate image pieces.


ARRI Lighting Handbook

I am constantly challenging myself to increase the production value of my work. Even on low-budget jobs, I strive to get the most clear and dynamic images possible? When it comes to film or digital film-making this often comes down to light… Really, we are all just playing with light, reflecting it, capturing it, using it to tell a story. Bill is a Bay Area based DP who has been lighting and shooting award-winning broadcast, corporate and documentary programming for over 20 years.

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