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^in Side lighting cuts face in half. This might be appro* priate for a Jekyl-Hyde story, or a psychological drama of a split personality, with mood lighting.
VC C Front lighting is best for closeups and is the most * flattering. Observe the direction and elevation of the sun in relation to the subject and its background.
Let Sunlight Work For You
REFLECTORS, PLACED on the ground or used vertically may be of cardboard, paper or even bed sheets. To increase effectiveness, crumpled tinfoil may be pasted on one side.
LIGHT CREATES pictures in its own image— dull and lifeless or sparkling and colorful. Film records the image as it sees it, with its limited range, not as the human eye records it. To bridge the gap between what the eye sees and the film records, two important factors are: First, the quality of the light. Sunlight appears bright and sparkling to the eye, and equally so to film. Dull conditions sometimes appear pleasant to the eye, especially if there is imagination behind it, as there usually is. But film has no imagination. To it, dull is dull. Second, the direction of the lighting. With color film, straight front-lighting is the simplest. Color, not lighting, provides contrast and modeling. With black and white, pep is added with directional illumination from slightly to one side. These considerations are paramount in filming people. With long shots, landscapes and scenic views, side lighting for effect may come into use.
|^|Q Darkness masks the eyes in this type of closeup unless the sun is very low. Reflections are effective from white walls, sidewalks, clothes or other adjacent surfaces.
YES Shadows come t° life when illuminated with a reflector.
This is especially helpful with color film. Use a tripod, music stand (or assistant) to hold and direct the reflector.