Chapter 1Applied Media Aesthetics- A conception of what is artistically valid or beautiful- Not an abstract concept- Applied media aesthetics is about using art to express and communicate everyday aspect of life. - Example: Fascist Propaganda in Italy, Rosie the RiveterContextualistic Aesthetics- There is a relationship between art and life- Does art inspire life or life inspire art?- Everyday experiences serve as the raw material for the creation of art.Clarification, Intensification, Interpretation - Art is clarified and intensified life.- Each unique individual has their own perceptions and ways of seeing things- Your point of view is formed by previous experience, perceptual sensitivities, and expectationsSelective Seeing - Selecting information that agrees with how we want to see the worldEthics - We must be careful, because the technology of television and film gives us the ability to manipulate messages- Contextualism stresses the close relationship between aesthetics and ethics- Be concerned about the people who are viewing your messages, and what influence those messages may have on them- By knowing how pictures and sound can be manipulated and distorted, we become less open to blind persuasionChapter 2 Light Purpose and Functions- Orients time, space, location, texture- Affects emotions- Essential to establish framework for feelings and context for experiences Lighting- Deliberate control of light- Controls perceptionAttached Shadows- Shadow inevitably fixed if the lighting conditions stay the same - Allows viewer to interpret basic shape and textureCast Shadows- Shadow is independent of the object when the object is moved- Becomes fuzzier or lighter when you move the object further- Indicate whether object is resting on a table or not- Pay attention to cast shadows during production (microphone boom, equipment etc)Falloff- The change from light to shadowFast (drama and suspense)- Displays dramatic contrast between what is lighted and what is not- Sudden change of lightSlow - Contrast between illuminated and attached shadows- Gradual change from light to dark - When you eliminate falloff the result is a flat image - Diffused lights = slow falloff- Directional lights = fast falloff- Flood lights = eliminate falloff Outer Orientation of Light- Let us know what time of day it is; day (high key light) night (low key light) - Winter/Summer (Seasons) - What objects look like, location in relation to other objects - Key light and attached shadows show shape- Cast shadows show locationTactile Orientation- Appeals to sense of touch (shows textures)- Men likely to be lit to show wrinkles, women likely to be lit to eliminate contour - Winter lighting more white than summer; summer shadows shorter Inner Orientation - Used to articulate feeling and emotion- Establish mood and atmosphereEye Level Lighting - Above eye level lighting is considered normal - Below eye level lighting is considered reverse modeling may appear scary or untrusting (Remember teddy bear picture)Predictive Lighting- Helps to preview an upcoming event for the audience- Usually marked by a change in lighting - Works with sound effects and music Lighting as Intensifiers- Head on shot into a flashlight- Camera starts on police lights then moves to a crime scene etc. Chapter 3Spot Lights- Directional light that can be controlled - Gives dimension and definition to objects - Creates fast falloff- Narrow and intense - spotted- Wide and less intense - flooded (slow falloff) Soft light - No directional light (flat)- Diffused beam of life of subtle shadows and slow falloff - Most often used in interviews, product shoots - Most filmmakers don’t like using them because the eye is able to see the basic contour of an object Gels -Colored filters - Subtracts white light of bulb of all colors besides the color of the gel Reflectors - Device that bounces light from a light source toward the object- Biggest indoor reflector = ceiling- Usually for outdoor use to reflect light as both key and fill light - Use silver, gold, fabric reflectors depending on skin complexion Three-point lighting Back Key Fill Back - on shoulder of object/person, separates them from background creating depthKey - main light source 45 degrees off axis between camera and person & 15-45 degrees higher then camera angle Fill - extends key lights illumination; reduces shadows caused by key light. Placed higher then height of subject but lower then key lightKicker- Low and behind object, placed to 1 side- Creates further separation Back BackgroundSide light Kicker- Comes directly from the side Subject Side- Reduces falloff Key FillCameraBackground (Set Light)- Illuminates background- Extension of back light Chiaroscuro lighting (Guiding Light) - Produces fast falloff/ high contrast between lights and darks - Creates drama; adds volume; intensifies 3-D objects; - Articulates space; has an expressive quality - Lighting should look natural and realistic - Thematic and emotional function Cameo lighting - Extreme chiaroscuro - Fast falloff, very defined cast shadows - Illuminates foreground while background becomes dark Rembrant - Fairly fast falloff- Carefully illuminated - Adds volume and drama - Illuminates foreground while background is completely dark Flat lighting (Deal or no Deal, News Shows)- Like triangle lighting but uses highly diffused lights - Slow falloff; transparent cast shadows - High key light creating brightness - Able to shoot from many angles without changing lights - Able to hide wrinkles, emphasize truth, devoid of warmth Single Camera Lighting (SCL)- Good for short duration action - Not flat, objects are lit precisely Multiple Camera Lighting (MCL)- Less precise than SCL- Good for long duration action and multiple actions- Usually grids on ceiling for human traffic belowFilm Noir - French term “Black Film”- Antihero, femme fatale, crime- Popular in 1940’s -1950s- Remember cheez-it box with cigarette picture Silhouette Lighting - Mix of chiaroscuro and flat lighting - Shows contour rather then volume and texture - Background is lit and the figure is not- Opposite of cameo lighting Chapter 4Spectral Colors - Rainbow colors ROYGBIV (visible electromagnetic spectrum)- The only spectral colors are pure hues Hue - Describes the color itself such as blue, red, green, yellow- Only spectral colors can be hues Saturation (Chroma)- Has to do with the strength or purity of a color - Represents the amount of white light,
View Full Document
Unlocking...