Chapter 1 Applied 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 Riveter Contextualistic 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 expectations Selective Seeing Selecting information that agrees with how we want to see the world Ethics 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 persuasion Chapter 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 perception Attached Shadows Shadow inevitably fixed if the lighting conditions stay the same Allows viewer to interpret basic shape and texture Cast 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 shadow Fast drama and suspense Displays dramatic contrast between what is lighted and what is not Sudden change of light Slow 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 location Tactile 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 atmosphere Eye 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 3 Spot 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 depth Key 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 light Kicker Low and behind object placed to 1 side Creates further separation Side light Comes directly from the side Reduces falloff Background Set Light Illuminates background Extension of back light Back Background Kicker Key Subject Camera Side Fill 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 below Film 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 4 Spectral 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 grey or black mixed in a hue High sat appears rich and colorful low sat appears washed out Chromatic colors red blue achromatic black white gray Desaturation with white turns colors lighter Desaturation with black turns colors darker Brightness meter Value for
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