Adv Fall Semester Reflection

Answer the following questions in an in depth - paragraph:

1. What are three things that you have struggled with in the advanced class this semester? Why have they been difficult?

2. What are 3 things that we have covered that you need more help understanding? How could you learn more about them?

For the first semester, I found it difficult to come up with my own ideas by myself because I am the only advanced student. I don't have anyone to bounce off ideas or build my story with. I also found it difficult to juggle the work in film with my college apps and normal schoolwork. I was not able to work on film outside of class because I was always busy outside of class. In the end, it was most difficult to work with clients. Although I have worked with real clients during the PSA shoot, one of my group members were responsible for personally contacting the client. Therefore, working with different teachers at this school to make content for them was challenging. I definitely need more understanding when it comes to lighting. I often get too lazy when location shooting that I would do minimum to no lighting setup. I wish I could have learned more about post production during the first semester. Although I messed around with After Effects during my free time, I did not get even a basic understanding of the software. However, I would have more time during second semester to work on my post production skills so I hope to implement them in my second semester projects. I also need more help understanding wave forms. This concept was slightly touched for the Day of the Dead video and while working with the monitor but I still fail to have a deep understanding in it.

Harnessing Shadows

1. What is a silhouette? How can you create it in your film using lighting?
2. What is separation? How is it created?
3. What is edge lighting? How can you create it using lighting?

A silhouette refers to a lighting style in which the background is exposed but the subject is not. This makes the subject into a dark shape without any facial or bodily details. This can be created by placing a bright light behind the actor or by using natural light. Lighting the subject and the background separately can be effective in that it allows for more cinematic control. This also allows for a concept known as separation where there is a clear contrast between the subject and the background. Edge lighting is similar to a hair light, serving as a light source that separates the subject from the background. While keeping the subject mostly in the shadows, the subject can be clearly distinguished from the background.

Shooting During the Day

1. How does knowing where the sun is help you when shooting a scene?
2. Where should you place the sun while shooting? Why?
3. How can you use foamcore to fill? Why would you use it?
4. How would you shoot a scene at noon outside? How would you soften the light?

Knowing when the sun is going to be at a certain point can help schedule the shoot effectively. Placing the sun behind the subject is smart because it helps the subject pop out of the background and any additional light can be reflected. Foamcore can be used on either side:silver or white. The sun can also be placed on the side or in front, depending on the scene. Using soe sort of diffusion to soften the light can create a much more flattering look on the face. The sunlight during noon could be altered by using diffusion sheets to soften the light or simply shooting in the shadow.

Lighting Instruments

1. Summarize the 4 different lighting instruments that are covered.
2. How are each of them different from each other?
3. Why are kinoflo lights so useful?
4. What makes the Arri L series light so unique? What could you use it for in your films?

LEDs are energy efficient and do not produce excess heat. They also tend to have the ability to adjust the color temperature and the ability to dim. The small LED is very portable so it is effective when shooting documentaries and live events. However, they have a small throw, so it is only effective for up close shots. Hot lights are specifically 3200 kelvin and has a lens in front of the light that helps the light focus; this makes the light easier to control. Kinoflo lights are popular because they can provide a beautiful, soft light. The Arri L series light is unique in that they are a LED fresnel light, meaning that they do not heat up. These can be used on film sets so that not one gets burned but there is enough light to supply for a large surface.

Commercial Status

What is the status of your SVCTE commercial production? What are some challenges you are facing during the shooting?

Currently, I have shot in the film and auto service classroom. I have booked Friday, next Monday, and Tuesday for Construction Technology, Dental Assisting, and Fire Science. I am going to record the audio / voiceover today. Some challenges include collaborating with the students in other classrooms. Unlike students from film in which I used to help shoot the storyboards, they tend to be less cooperative. In the next classroom I visit, I would have to be more assertive when conducting the students. Furthermore, the operation of the Ronin was more difficult than I thought. Using the joystick to make subtle adjustments can often lead to unintentional motion. 

Negative Fill

1. What is negative fill? What does it do to your image?
2. What is a good place to use it?
3. How could you start using this in your shooting?

Negative fill can be used to add shadows for a flat lighting situation. This technique can add contrast into the image and bring about more depth. This look can be cerated by using any non-reflective black cloth that blocks the light. The distance of the black cloth from the subject can determine how harsh the shadows are. For example, keeping the cloth closer to the subject can create darker shadows while keeping the cloth further away from the subject can lighting the shadows. This is often used outdoors where there is abundant light. In the next shoot, I can use this technique to block unwanted light in the scene.

Quality of Light

1. What is the difference between a hard and a soft light?
2. What is diffusion? What does it do?
3. What does hard and soft light communicate to your audience?

Hard light can create harsh shadows on the fact and in the background. On the other hand, soft light tends to wrap around the subject so that the shadows appear less crisp. Hard and soft light can be determined by the size of the light source in comparison to the size of the subject. Distance from the subject also comes into play. The further the light source, the harder the light. The closer the light source, the softer the light. Diffused light can be created by letting the light pass through a certain material that spreads the light evenly. Diffusion can smooth out the specular highlights, creating a softer look on the face. Hard and soft light can identify the time of day, mood of the scene, or emotions. The kind of light can also create a flattering or unflattering look for the character.

Shaping Light

1. How do you create a soft light from a hard light?
2. How can you use flags to shape your light? What effect does it have?
3. What are china balls, duvetyne and blackwrap used for when lighting?

You can create a soft light from hard light by bouncing it to a white card. It can also be achieved through diffusion sheets. Flags can eliminate spilled light in unwanted areas. For example, flags can eliminate the light spilled in the background, helping the subject pop in the front. Negative fill can also be done, adding more depth into a subject's face. Flagging unwanted light can focus the audience's attention to the more important portion of the frame. Chine ball can shed light in all directions, blackwrap can be used to cover unwanted light.

Shots vs. Setups

1. What are shots? What are setups? How are they different from each other?
2. What does this matter? What is turnaround?
3. Why is it so important to group your shots?

The different shots are identified by the different framing of the setup. Different setups are identified by the position of the furniture and the way the light hits the subject. A turnaround when the lighting and camera setup must be completely redone to accommodate for the next shoot. This matters because the number of turnarounds significantly slow down the shoot. Therefore, filmmakers must plan efficiently so that they are able to film the same scene in the least amount of time. Grouping shots may cause the scene to be shot out of order but it would increase the efficiency overall.

Reviewing the Basics of Lighting

1. What are three new interesting things you've learned in this video?
2. What does cross lighting mean?
3. How can you put these into practice in your next film?

 There was nothing much that was specifically new in this video. After all, it is  review of all of the concepts that I have learned so far. Cross lighting is a technique that lights subjects facing towards each other. Here, one lighting source can act as a back light for one character and a key light for another. On the other side, there would be another source of light that lights the back of the other character and act as a key light as well. In my next film, I can incorporate these when I am lighting a two-shot.

Bouncing Light

1. What happens when you directly aim a light at your talent?
2. What happens when you bound your light? Whats a simple way to bounce it when shooting?
3. How can bounce cards be used?

Directing aiming a light at a talent can create harsh shadows in the background. In comparison, bouncing a light can create softer shadows in the face, giving the illusion that the light is being wrapped around her face. However, simply bouncing a light off of a white wall can cause light to be lost or create a flat look. Subtle angle differences can create drastic differences on the subject. Bounce card be used as another source of light. This card can be angled in every direction to create a different diffused look. One simple way to light a scene is by bouncing the light off the ceiling. This creates a natural look that is normally observed under ceiling lights.

Setting up a C-Stand

1. What are three key important details when setting up a C Stand properly?
2. How should you store and carry C-Stands?

When setting up a C-stand, all of the the tallest leg must be under the weight. This is also where the sand bag is placed. If the sand bag is on any other leg, it can be touching the floor, decreasing the effectiveness of the weight. The knuckle should always be placed on the right side so that objects tightens itself when it begins to drop in case it was not fully secured. When storing the C-stand, they must be soldiered so that the legs do not cross paths. When carrying these stands around, it is important to notify the people around by calling out "points."

How to Set Up a Light

1. What are three key important details when setting up a light properly?
2. What are the proper terms when instructing someone to change where the light is pointing?

When setting up a C-stand, the legs at the bottom either have to slanting  downwards towards the middle or in a perpendicular fashion. Leaving the legs too high up can result in an unstable C-stand. When tightening the knob, it should only be tight enough to be able to be loosened by the hand or finger. One sandbag is required for all lights, and more if the light is heavy.  All cables must be secured under a rubber mat or taped down so that the people do not trip over them. When turning on the light, it is important to call out "striking" so that people are not looking directly into the light. When turning off the light, call out "saving" so that people do not mistake it for lighting outtage. There are three main terms used for the movement of the lighting source: tilt, pan, and stick (up/down)