Lighting for film and digital cinematography pdf free download

A location manager or scout finds locations as needed and helps arrange logistics. The director of photography DP or DoP , also called the cinematographer, first cameraman, or lighting cameraman, composes the shots, plans camera movements, and decides how to light scenes, usually in consultation with the director. On small units, the DP may operate the camera, but on large units, the camera operator or second cameraman sets the controls and operates the camera during a take.

The second assistant or clapper loader operates the slate, loads film in a film camera, and keeps the camera report sheet. A DIT digital imaging technician may be on the crew to adjust camera parameters, supervise recording, create a visual look, and offload and back up camera files. The gaffer and a crew of electricians place the lights as directed by the DP. The best boy or second electric assists the gaffer in setting up lights and cables. The grips move things around, place props, and build scaffolds and other rigging for cameras or lights.

The dolly grip pushes the dolly. The sound department is run by the sound recordist also called production sound mixer or location sound engineer , who records the sound and directs the boom operator, who maneuvers the microphone, sometimes assisted by a cableman. The second unit is usually responsible for stunts, crowd scenes, battle scenes, and special effects—essentially those scenes that are shot without sound.

These scenes have their own director and camera crew. The crew is divided into departments camera, sound, art, wardrobe, etc. Production design, art direction, set construction, props, makeup, hairdressing, costume design, wardrobe on the set, and countless other jobs are specialized tasks, each requiring one or many people to perform them.

Job responsibilities vary by country and by type of production. On nonunion or smaller productions, there may be significant overlap in responsibilities, and one person may be called on to perform a variety of tasks. If the crew is too small for the complexity of the production, crew members get overburdened and the work becomes inefficient and slow. However, as crew size grows, there is a kind of instant multiplying effect: more people require more support cars, meals, accommodations , which requires more people.

The size of the crew can affect not just the process, but the nature of what gets filmed. The larger the crew, the more expensive each hour of work becomes, which adds pressure to the shoot and makes it that much harder to experiment and try out ideas. Particularly on documentaries, a small crew will have better access to the subjects being filmed and create less disruption in their lives. A small documentary crew might consist of a cameraperson and a sound recordist, with either or both functioning as director.

A third person may be needed to drive the car, help with equipment, and run errands. Some documentary filmmakers like to shoot alone, working unobtrusively with a small camera. See p. Casting For any production that involves actors, casting is vital.

Finding actors who are not just right for their roles but who also work well as an ensemble can make all the difference. If the casting is bad, a great script and director may not be able to save the project. For a dramatic feature, having some known stars may enable you to get financing and is a boon for marketing.

Many stars have been known to appear in low-budget films if the script is good and the number of days required is small. Depending on the production, you may have a choice whether to work with union or nonunion actors.

Union actors are generally more experienced and expensive, though they may reduce or defer their salaries for low-budget productions. At the start of the casting process, prepare a casting breakdown, which is a list of all the roles in the film with a short description.

A casting director can point you to actors who would be good for a role and may help when negotiating with them. Breakdown Services, Ltd. In many cities there are agencies and casting websites that can give you quick access to a local pool of actors. Some producers hold open auditions, advertised to the general public; if you do this, be prepared to find a few undiscovered gems and a lot of people who have little experience and ability. However, when casting extras nonspeaking background players headshots are typically all you have to go on.

When holding auditions, prepare sides portions of the script excerpted for each character and get them to the actors prior to the audition. Sometimes casting directors do the first auditions themselves, which the producer and director review online.

Then callbacks are scheduled to read the promising actors again, often in different combinations. With some casting decisions you know instantly if an actor is right or wrong for a part; other times it takes a lot of thought. Be sure to record everything on video so you can review.

A major part of acting is nonverbal. For more on hiring actors, see p. Locations The producer can seek out locations for film shoots or hire a location scout who may already keep a database of likely places. Many states have film commissions that can assist in finding locations and securing public areas like parks and government buildings. Potential sites should be photographed from multiple angles or shot on video to give a sense of the space. For a drama, ideally the producer, director, DP, AD, production designer, soundperson, location manager, and other members of the team will scout each location.

For a documentary, sometimes just the director and DP go along. A technical survey is done to determine: 1. Direction and art direction. Is the space adequate for shooting? Are the rooms cramped or is there enough space to get the camera back away from the action?

If a dolly will be used, is there room for the tracks? Are the walls, furniture, and artwork usable for your movie or will they need to be changed? Any problems with views out the windows? For an exterior location, will there be a problem with crowd control? What is the natural light and how is it expected to change over the shoot? Apps for mobile devices like Helios Sun Position Calculator can show which way the sun will be shining at different times of day on a given date.

How much artificial light will you need? Are the ceilings high enough to hide lights out of frame? How much electric power is available; will generators or other sources be necessary? Try to meet with maintenance personnel to check out the power and other issues see Chapter Will any special lenses be needed for example, a wide- angle lens for small spaces?

Can the usual camera supports be used or will you work handheld or with a Steadicam? Will you need to adjust camera, filters, or film stocks due to high or low light levels? Is the location quiet enough to shoot? Is it under an airport flight path or near a highway? Do the floors squeak when you walk on them? Is the space too reverberant see Chapter 11? Ask if the noise level changes a lot at certain times of day.

Production and support. Will it be difficult or costly to secure permission? Is there adequate parking or can permits be obtained to reserve more? Are there enough bathrooms? Are there staging areas where equipment, wardrobe, and makeup can be set up separate from the shooting area?

Will you need fans or air conditioners to keep the space from getting too hot? Is the location difficult to find? Is there Internet access? Often filmmakers will shoot exteriors in one place and the interior that is meant to represent the inside of that building in an entirely different place.

If the production budget will support it, shooting in a studio can solve many of the typical problems of locations. Even on a low-budget production, a quiet space, a few flats movable walls , and some props can take you a long way if you have good lighting and clever art direction.

As a producer, you should begin preproduction at least three or four months ahead of the first day of shooting. Among the tasks to be accomplished: scheduling, casting, hiring department heads, hiring other crew, arranging for equipment, props, costumes, vehicles, catering, and determining the postproduction workflow. It can take months to get music licenses if you need them for songs performed during the shoot, and other forms of paperwork, including location permits, insurance, and contracts, also take time.

For camera tests, see Chapters 3, 6, and 7. For audio equipment, see Chapter The night before the shoot, make sure that replaceable batteries are fresh and rechargeable batteries are charged see Chapter 3.

Many people prefer to hand-carry the camera itself and delicate lenses or audio gear on planes see p. Having your equipment and supplies well organized and easily accessible is extremely important. In the pressure of a shoot, you want to be able to quickly put your hands on whatever you need. When shooting with a large crew and plenty of support vehicles, things can be divided into many cases or storage containers. However, when you need to pack light for portability—and especially when working alone—having the right amount of gear in the right cases makes a huge difference.

Depending on your camera and production style, you may need more or less stuff. Typically, many items are rented; others may be owned by the production group. All items are discussed elsewhere in the book. Staying Organized Create a production book that has all the key information needed for the shoot: all cast and crew contacts, directions, names of vendors, budget and financial information, etc.

Be able to answer any question that comes up quickly. The call sheet includes contact numbers, directions, and any other useful logistical information. Mobile apps like doddle, Pocket Call Sheet, and Shot Lister can also be used to coordinate the production team. The director should have a shot list for each day. The planned setups and schedule should have been discussed in advance with the production team. Preparing the Slate The slate also called marker, clapper board, clap sticks, or simply sticks originated in traditional film production as a way to help synchronize sound and picture during editing.

The classic slating device is literally a piece of slate on which information can be chalked, with a hinged piece of wood on top that makes a sharp noise when it makes contact with the board.

Modern slates are usually plastic or electronic and often include a timecode display that freezes when the hinged board is slapped down see Fig. There are also slate apps for tablets and mobile phones see Fig.

Slates are used today for digital or film productions shot double system with a separate audio recorder; see p. When a slate is used to ID a take, but not for syncing, the hinged bar should not be raised. MovieSlate app for iPhone or iPad. Displays time-of-day TOD timecode or you can jam timecode from an external source.

A shot log— including scene and take info, notes, and other data such as GPS location—can be exported easily via the Web. A plug-in is available for generating detailed sound reports. PureBlend Software Information written on the slate includes the production company, name of project, director, DP, scene and take numbers, and date. If more than one camera is being used, that is usually indicated by letter A, B, C, ….

The camera roll number is indicated which may be a film roll, videotape, or memory card number. A small gray card see Fig. As noted on p. In one common system in the U. The first setup of the first day of shooting is slate number 1 and the slate number increases with each new camera angle until the end of the production the slate in Fig.

Numbers are often written on pieces of tape that can be stored on the back of the slate and quickly stuck on the front as needed obviously not necessary with tablet or smartphone slates. The assistant should increment the numbers immediately after slating to be ready for the next take. Today, much of the information on the slate can be logged electronically and included as metadata with the picture or sound files see p.

For more on slates and slateless timecode systems, see Syncing Audio and Picture, p. The following assumes that double-system audio and slates are being used. With digital postproduction, often all the takes are available in the editing room unlike traditional film, in which only the best takes are printed , but there should be a record of which takes the director liked best.

When possible, do head slates, which are done at the beginning of the shot. Head slates speed the process of putting the sound and picture in sync in the editing room.

However, tail slates can slow down syncing, since you have to locate the end of the take and work backward. In any situation, a gentle slate helps put actors or film subjects at ease. Generally actors should not be rushed to begin the action immediately after the slate. Slating on a DSLR shoot. Do you have enough coverage—that is, have you provided enough options for editing?

Do you have an establishing shot? Have you got interesting close-ups? Both the order of scenes in the original script and the overall length of the movie are often changed substantially in the editing room. Keep this in the back of your mind as you plan your coverage. Filming a continuous master shot of an entire scene can be time- consuming on set to get everything right.

Sometimes a long take is good, but you need to cut the sequence shorter and your beautiful three-minute shot now becomes a burden. Directors often concentrate on the characters who are talking. Keep in mind that some scenes are more interesting for the reactions of other characters. Higher-budget films often shoot with two cameras simultaneously in this situation. This may help you in the edit and is a lot cheaper than doing ADR. Blocking the camera and actors is a kind of choreography.

Keep the image as dynamic as possible. Directors differ in terms of how many takes they typically shoot.

Sidney Lumet, whose background was early television, liked to rehearse actors prior to the shoot and only film a few takes because the first ones have the freshest performances. Stanley Kubrick, with a background in photography, would often shoot numerous takes in order to groom each shot to perfection. One saying has it that the best takes are the first and the tenth the advantages of spontaneity versus practice , but the budget may not permit ten takes.

Inexperienced directors tend to shoot more takes and choose more of them as preferred circle takes. At minimum, always shoot at least two keepers of any shot to have a safety in case one gets damaged or has unnoticed technical problems. Even if a take is good, it can be productive to try it again faster or slower or to vary something in the reading or action. Often in the editing room, you wish you had more options to choose from, not just more versions of the same reading and blocking.

Some directors like to go immediately into a second or third take without stopping to reslate. This can be helpful to actors but may create some confusion in the editing room. For more, see The Shooting Ratio, p. Reviewing the Footage Some directors like to play back each good take on video after shooting it; this can slow production down a lot. Looking at dailies is a good way for the director, cinematographer, and others to evaluate the footage as it gets shot, preferably on a relatively large screen.

Some directors invite actors to attend dailies screenings; others prefer that actors not see themselves and get self- conscious. It takes experience to see the potential in the raw footage. On larger productions, dailies are often uploaded to the cloud so that executives and members of the production team can monitor progress wherever they are on a tablet or computer see p. Errors discovered while viewing rushes or during editing often necessitate pickup shooting, which entails going back to get additional shots to fill in a sequence.

A documentary crew might return to get a cutaway from a car window, or, in a fiction film, there might be a need for a reaction shot of an actor. Take stills of sets, lighting setups, makeup, and costumes to help match shots that may need to be redone. Many DPs or their assistants keep detailed notes about lenses, camera angles, and lighting to facilitate reshoots, some of which may be recorded as metadata in camera files or with an app such as MovieSlate see Fig.

Working with Actors As much as films vary stylistically, directors vary in their style of working with actors and in the tone they set for the talent and the crew.

Some like to plan and control every line and gesture. Others, such as Robert Altman, like to create an environment in which actors are encouraged to experiment with their roles. Some like to discuss deep psychological motivation and others are more interested in basic blocking and line readings.

Actors are often extremely vulnerable to disruptions of mood and should be treated with respect and deference. Only the director should give performance instructions to actors; anyone else wishing to communicate should tell the director. Particularly in intimate or difficult scenes, some actors prefer that crew members not even make eye contact with them while the camera is rolling in some scenes it may be best to clear the set of unneeded crew.

Rehearsal is done both for the actors and for the crew. Keep in mind that once lighting, props, and dolly tracks are set, your flexibility to change things is limited. Make sure they have a comfortable space to go to off the set to relax. This can leave actors feeling isolated. Kibitzing in video village. Guidelines for clothing also apply to wall treatments, furniture, and other items on the set.

White shirts often burn out overexpose when the camera is exposed for proper skin tones, especially in daylight. Pastel or off-white shades work better. Avoid shiny surfaces or jewelry. When shooting people with glasses, light them from high above or to the side to avoid kicks in the glasses. Applying makeup is an art and needs to be tailored to individual faces. Facial shine, caused by sweating under hot lights, is a common problem that is easily remedied with a little translucent face powder, which can be brushed on actors or interview subjects and will be totally invisible.

Apply the powder first to the brush, not directly to the skin, and touch up faces whenever you see shine. Many cinematographers carry powder in their ditty bag. Prompters and Cue Cards Actors may forget their lines. Correspondents or on-camera narrators may be asked to speak long passages directly to the camera. Lines can be written on cue cards.

A low-budget technique is to cut a hole in the center of the cue card for the lens. A better solution is to use a teleprompter, which mounts in front of the lens and displays written copy from a computer see Fig. Larger teleprompters may limit camera mobility and usually require a solid camera support. Smaller teleprompters based on tablet computers and smartphones are lighter and can sometimes attach directly to the lens, permitting use of a handheld camera. The actor reads his lines into the prompter prior to the take; then during the take he hears the words played back while he speaks to the camera this only works for scenes in which no one else talks.

Several different kinds of logs or reports are used in production. Basic Log The simplest kind of log is a record of each take. There are also several apps for mobile devices. The log includes information on: Date and location. Tape number, card number, optical disc, or hard drive. Never have two tapes, optical discs, or film rolls with the same number. Use letters if necessary.

Take number if any. Timecode start for each take. Usually the starting timecode of the next take tells you the ending timecode of the previous take, but some people note both start and stop codes. Indicate if the take was good; any performance or content notes. When practical, timecode can also be superimposed on a video monitor for the logger. There are various logging apps for mobile phones and tablets that allow you to email the logging file to the rest of the production team.

NLEs often provide a way to import logging data as XML text files, which they then map into their own metadata fields. For logging in the field, the ScriptBoy provides a writing surface with built-in timecode display.

The transmitter sends timecode wirelessly from the camera. Vortex Communications, Ltd. In unscripted documentary work there tends to be little time for detailed logging. Continuity Script For feature films and other scripted work, the script supervisor creates a marked script to show what camera angles were used to cover each page. This continuity script serves as a reminder of what coverage has been shot and needs to be gotten, and it tells the editor what shots were filmed during production see Fig.

The script supervisor will also prepare script notes, which include descriptions and comments on each take and may include items about lenses used and continuity issues. Sometimes camera reports include lens settings. Some systems can upload script information to the telecine shot log to help organize video clips by their content see Shot Logs, p. On a feature, a daily production report is done every night to track what was filmed that day. Lined script.

Each vertical line indicates a different camera angle or shot that was filmed. Zigzag portions indicate off-camera dialogue or action. The script is normally marked by the script supervisor during the shoot.

Camera and Sound Reports When shooting film, the camera assistant fills out a camera report that indicates every take on a given roll of film, including the length of the shot and any remarks see Fig. Good takes are normally circled when shooting 35mm. Without instructions, the lab may attempt to bring intentionally underexposed scenes for example, day-for- night shots or scenes with colored gels say, at a nightclub back to normal. The camera report accounts for every take on each camera roll.

The best takes are circled. In 35mm, usually only circled takes are printed. Heads designed for motion picture work are able to pan short for panorama , which means to rotate the camera horizontally, or to tilt, which is a vertical rotation. Friction heads for tripods are the cheapest, but they make it hard to pan smoothly. Fluid heads have a built-in hydraulic dampening device to make panning much easier see Fig.

Large cameras are sometimes used with geared heads that use two gear wheels to control movement see Fig. These are heavy and take experience to operate but can produce smooth, repeatable movements. When the camera is properly positioned and balanced, it should not move when the head is unlocked.

Use the lock on the tripod heads to prevent an unintended tilt, since camera and tripod can fall over. Tripods have aluminum or carbon fiber legs which are lighter and more expensive. Standard legs will telescope out to around six feet, and baby legs raise to around three feet. Dual-stage legs have three sections, allowing them to go lower than single-stage legs while reaching the same height or higher see Fig. The hi hat, used for low-angle shots, does not telescope and is often attached to a board.

A table stand can be useful for small cameras. Fluid heads are the most versatile and easiest to operate. This Sachtler head has seven-step pan and tilt drag controls and a quick- release plate that attaches to the camera and can be snapped on and off the head. Practical Cinematography can be dipped into for quick reference - perhaps to answer a specific question or deal with practical problems relating to a shoot - or read from cover to cover.

It discusses the principles of cinematography and the expertise which is unique to the Director of Photography DoP. It deals with all the basic theory such as color temperature and sensitometry, and all the practical things a DoP needs to know, from the make-up of the crew to how to prepare an equipment list.

The image, the mood, and the visual impact of a film are, to a great extent, determined by the skill and sensitivity of the director of photography in using lighting. Motion Picture and Video Lighting explores technical, aesthetic, and practical aspects of lighting for film and video. It covers not only how to light, but also why. This revised edition of Motion Picture and Video Lighting is the indispensable guide to film and video lighting. It includes a revamped companion website with supplementary resources, forms, checklists, and images.

This book includes: case studies of film lighting by some of the world's leading cinematographers ; every chapter is illustrated with reproductions of 35mm film frames ; lighting diagrams accompany 35mm workprints from workshops ; chapters about 'Breathless', 'Fearless', 'Seven' and 'The last Emperor' are presented with frames from selected sequences ; seven sections are cinematography basics, the key light, portraits, day interiors, night interiors, lab techniques and the design of sequences ; technical and aesthetic aspects of cinematography.

Wide ranging discussion with cinematographers begin with specific commentaries of the illustrated work and go onto include thoughts on lighting design and philosophy ; and cinematographers also talk candidly about the everyday aspects of cinematography, such as working with the director, scene design, managing time, set policies and other realities of the film business. Skip to content. Lighting for Cinematography.

Lighting for Cinematography Book Review:. Motion Picture and Video Lighting. Film Lighting. Film Lighting Book Review:. Practical Cinematography.

Practical Cinematography Book Review:. Set Lighting Technician s Handbook. Painting With Light. Painting With Light Book Review:. Lighting for Digital Video and Television. Lighting for Film and Digital Cinematography. Lighting for Film and Electronic Cinematography. Lighting for TV and Film. Masters of Light. Masters of Light Book Review:. The Aesthetics of Shadow. The Aesthetics of Shadow Book Review:.

Cinematography Theory and Practice. Cinematography Theory and Practice Book Review:. Writing with Light. Writing with Light Book Review:. Grammar of the Shot. Author : Christopher J. Coverage includes lighting, color control, texture, exposure technique, and elements that create image, ''look,'' and mood.

With a balance of the aesthetic and technical aspects of lighting, this communication text helps you apply what you. Lighting for Film and Electronic Cinematography. Teaches fundamental lighting concepts, light placements, exposure theory and various lighting applications.

Annie Leibovitz at work. Film Lighting. Newly revised and expanded,Film Lightingis an indispensable sourcebook for the aspiring and practicing cinematographer, based on extensive interviews with leading cinematographers and gaffers in the film industry Film lighting is a living, dynamic art influenced by new technologies and the individual styles of leading cinematographers.