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• Photos show right and wrong way to light small groups in home movie scenes. First scene (immediate right) was lighted with a single photoflood. Next scene was lighted with two photofloods plus a highlighting unit as shown in diagram (Fig. 2) below. Note increased detail plus modeling of subjects in second scene.
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[S we proceed through the doldrums of movie making brought about by film shortages and the "freezing" of photofloods, it is a good time to pause and review the results of our past accomplishments in indoor filming. How many feet of film were wasted due to under-exposure? To improper or uninteresting lighting? What can be done to improve lighting of interiors?
The answer to all three questions is relatively simple for the amateur who will apply certain professional principles to his indoor lighting, especially when shooting panchromatic film. It is possible to successfully light every interior scene in several ways. This is particularly true of small groups. There are two things generally to be avoided which should be understood at the very beginning: "flat" lighting and "chalk and soot" lighting.
Fig. 1
CAMERA
U LIGHTING I
LET'S ANALYZE OUR LIGHTING MISTAKES
Flat lighting is due to balanced illumination — usually two photofloods or light sources illuminating the scene from either side of the camera and at equal distance from subject. Such uniform lighting causes facial characteristics to disappear. Faces lose "roundness" and form, and the scene appears to have no depth.
While unbalanced lighting is the key
Fig. 2
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to good lighting composition, it is possible to overdo it. Where subjects are so lighted that there is excessive contrast in the lighted portions and the shadows, the extreme black and white result is frequently referred to as "chalk and soot." Extreme unbalance of lighting creates this effect, and one of the principal causes is use of a single light source to illuminate the scene.
There is one other cause: floodlamps which are excessively red in color temperature or aged photofloods which increase in red color as they degenerate. When such lamps are used with panchromatic film, it very frequently happens that facial features are washed out due to the affinity of the excessive red light for the red color tones in subject's face.
There are instances in amateur cinetography where balanced or flat lighting is desirable, as for example, when shooting Kodachrome. Also, when ex
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• Diagrams at left show lighting plans used in scenes pictured at top of page. Note how the two floodlights providing chief source of light in Fig. 2, vary in distance from subjects to produce right degree of unbalanced lighting.
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