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AMATEUR MOVIE MAKING 111
Emotional Effect of Lighting. — It should be remembered, however, that any lighting will have an effect upon
the picture which is entirely aside from either illumination or lighting. This may be called the sympathetic effect of lighting. Reference to the illustrations of this chapter as well as individual experimentation will show that with any given subject the expression, the "atmosphere" of the entire scene may be changed by changing the lighting. By fully understanding this we will find that lighting can aid us to a very great extent, or place an almost unsurmountable obstacle in our path in "putting over" a scene, more particularly if this scene has an emotional "punch."
The basic law of art is unity, so no matter whether wre are making purely artistic films, or whether we are making the most elementary photo-dramas, we must remember that everything entering into the production of one particular scene must either aid in producing the necessary "atmosphere" for that scene or be eliminated. This includes the lighting as well as other details. If the scene is one depicting sorrow, let us have gloom,, but not a gloom of heavy black shadows, rather a flat lighting, without excessive contrast, and then let us give it an exposure slightly on the under side. This, however would be too flat, so let us use the spot to introduce a bright spot of sunshine falling through a window, or introduce it in some similar natural manner. This small area of brightness will add life to the picture while increasing the effect of the general tone of the scene through contrast.
Let your lighting reflect the spirit of the scene!
Would you depict a scene of mystery by fully lighting every detail and then having your actors slink about like children playing Indian in the sunlight? I trust not! Rather you use just enough primary illumination to make one mass distinguishable from another. You see shadows rather than actors. Then, to heighten the effect you shoot a spot into a face or even flood the entire scene with a pure side or high-side light.
We might go on indefinitely considering the various treatments which might be used in connection with the lights, but as long as the cinematographer is careful to