Com Arts 155 1st Edition Lecture 4Outline of Last Lecture I. Copy Right and BalanceII. Public DomainIII. Fair UseOutline of Current Lecture I. Lighting in PaintingsII. Color TemperatureIII. Different Uses of LightingIV. Lighting ExamplesV. On-Set KnowledgeVI. Light and Design ThemesCurrent Lecture Lighting in Paintings Caravaggio – “The Calling of Saint Matthew” (1602) Strong shadows We know what time of day it is (around dusk with the sun getting closer to the horizon) There’s a high contrast between what’s lit and what’s not lit Johannes Vermeer – “The Geographer” (1668-69) The light reflected on face comes from the white paper It’s probably cloudy outside, coming in diffused Quality of light is clouded and diffused; cooler Color Temperature Daylight: 5600 kelvin It comes from sun and is diffused through the clouds Fluorescent: 4500 kelvin  Greenish Tungsten: 3200 kelvinThese notes represent a detailed interpretation of the professor’s lecture. GradeBuddy is best used as a supplement to your own notes, not as a substitute. Yellowish Different Uses of Lighting 3 Point Lighting Key Light: Primary source of illumination Fill Light: It fills in some of the shadow that would not ordinarily be there Backlight: It helps define the subject in space High-key lighting: Picture of Amy Adams- Traditional Fashion: This is what most American TV looks like Key light comes from the lef Fill light is a few stops down- You don’t want key and fill to have same intensity Backlight comes from behind- Without it, the subject looks like they’re in line with the background Bounce Boards They’re great for reflecting light Low-key Lighting You’re even more dependent on your key light. You typically take away your fill light.  Motivated low-key lighting A good cinematographer will acknowledge the source of light. For example: a lamp on a piano as a light source  Backlight halo effect This can be effective. You have the hottest light be your back light. There’s still a key and fill with a backlight that’s really high up, coming right at the back of head; it’s over exposed and creates a halo effect  Key Light Positions It can be in multiple positions around subject: from front to back to side. Fill is probably easiest to take away, but the backlight is really important Lighting Examples Light Sources in Movie Frames (Examples in Lecture Slides) Frame 1- Upper Windows provide light; probably with HMI Frame 2- Light comes from front of car- Light coming from lef; kind of like backlight for seat Frame 3- Dim overhead light- Light coming from window Music Videos Using Light Fiona Apple – “Hot Knife”- There’s just back lighting at times, but then key lighting comes in slowly and goes back out slowly- Halo effect; drum reflecting light- Isolating certain parts of the body with light Grimes – “Genesis”- When video starts the light comes from headlights of a car; time of day when photographers love to shoot. It brings out interesting pinks and blue in the sky. - Scenes in car were a bit blown out with halo effect; done on extremely moderate budget On-set knowledge Amps=Watts/Voltage ***will be on midterm*** Most lighting sources that we’re talking about require electricity, but there’s a finite amount of electricity that flows through circuits. Lights for photography use a lot of electricity and it’s very easy for them to blow a fuse.  Each house has a certain number of circuits, each carry about 15 amps. The standardUS voltage is conservatively 100.  Amps=15, Voltage=100, Watts=1500 Lights we’ll use in workshop are 420 watt lights; we could get all 3 420 watt lights on the same circuit as long as it’s not doing anything else. Any time you go to set, go to fuse box. If you go over the limit, you blow the fuse. When the fuse gets blown, all the power in the circuit gets cut out and you have to replace it.  Proper Way to Wrap Cable Not around arm! C47 Close pins Light and Design Themes Guiding attention of audiences and users Lighting helps get our eyes to move and focus on important things Visually defining objects in space and creating the illusion of depth Working on a 2D surface, but lighting provides depth of making it look 3D Conveying mood and emotion Choices of color and tone and contrast, negative space through