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)