Home Movies (1944)

HOME MOVIES FOR APRIL PAGE 145 directly in their range of vision. However, the eventual discontinuance of all floor lighting equipment in studios is very remote; for that little halation on the pupil of the actor's eye, produced by 3 "key" light set not too high, is too vital a cinematic effect thus to be lost. Moreover, some floor lights will always have to be used in lighting sets in order to highlight curved surfaces with catchlights. These give, to the monoptical eye of the camera, the effect of binocular vision. The foundation for lighting the studio set generally is the intensity of the "key" light playing on face of the principal actor. It is this lighting that determines the printing density of the negative. The remainder of the set, therefore, must be lit to balance the "key" light. There are three general methods of applying light to a photographic subject: flat or general lighting, streak or modeling lighting, and spot or effect lighting. Flat lighting is exactly what the term implies — an even, flat distribution of light applied in the intensity required with a minimum of under or over-emphasized areas visible from camera position. Streak lighting is the most common of all types of set lighting. It consists of lighting the subject or set with lights from an angle and in such a manner as to appear to be originating from a common source. It is with this type of lighting that three-dimensionality is achieved — the goal of all good cinematographers. Spot or effect lighting is commonly used in effecting such illusions as light emanating from a wall fixture and falling upon an object. It consists of lighting an object head-on with the circle of light from a spotlight. The light, however, must be very soft and the edges diffused considerably. Its use, other than for such purposes, is rather limited except in lighting a closeup of a player. Anything, to b; well-built, must have a solid foundation — a fact applying equally well to set lighting. In lighting the set, the background usually receives first consideration, which begins with a review of the action thit is to take place on the set. Is the action to be intense and fast, or of slow ?nd even temoo? Is the storv a comedy or drama? Proper lighting of the scene will set the mood and complement the action. Comedy action demands brilliant, high key lighting, whereas a dramatic scene requires a subdued, low-key lighting. The reason is two-fold: In the fast action, accurate lighting is very difficult. The entire scene must be flooded with light in order that the actors will not at any time "go black," as they might do by quickly moving out of range of a spotlight into a less intensely lighted area of the set. On the other hand, where action is slow, a more accurate method of lighting may be employed. More depth may be achieved by careful focusing of the camera. The actors move slowly, if at all, and the lights set upon them may be very closely adjusted and properly diffused for maximum effect. The walls of the set are first "streaked" at an angle from above. This is done by starting at one point and working completely around the set. At the same time, the important objects in the room are singled out and given individual lighting, generally slightly from the rear in order that edge of the object farthest from the camera is "limned" or outlined with light. This procedure insures a degree of three-dimensionality, in that objects in the room are set out sharply from the background. Other large or important objects may be given additional lights from the opposite direction to achieve cross-lighting. Backlights are used on objects and players whenever possible. For the amateur movie maker, lighting a set even on a smaller scale at once poses the problem of lighting equipment. To streak the walls of his set from above will require floodlights on high standards, adjustable to the ceiling; the cross-lighting and back lighting will require use of spotlights, or floodlights fitted with "snoots" that gather and condense the light into a narrow beam. The upper areas of walls should be lit less brilliantly than lower areas, as illustrated below, in order that composition of the scene as a whole will not appear top-heavy. Large, flat surfaces or walls should be streaked with masses of light and semi-darkness to overcome any appearance of flatness. Very dark areas of the set should be flooded gently with light in order not to draw undue attention to them by virtue of the contrast. There are two general schools of background lighting. One school advocates the use of hard, brilliant lights for the background. This is premised on the contention that such lighting provides a more apparent depth of field in the photographed scenes. However, if the laboratory work on the negative is not conducted in the most careful manner, the resulting prints from a negative made with this type of lighting are likely to appear grainy and highly contiasty. This condition is brought about by the fact the laboratory does not have sufficient latitude in the developing process to take care of the increased exposure. With faster films and increased lens speeds, stopping down the camera is becoming more and more mandatory. More depth in the photographed scene is the automatic result. Paramount studio is an exponent of this type of lighting. M-G-M, as a rule, favors soft background lighting. The camera stop is opened and a "flatter" background results. Artistically, perhaps, the soft, uncontrasted background presents an effect not unpleasing to the eye. From the standpoint of production, this method has the advantage of requiring fewer and cheaper lights. Modern prac• Continued on Page i6t • The upper areas of walls should be lit less brilliantly than lower areas in order that composition of the scene as a whole will not appear top-heavy. One partly shielded 1000 watt spot, one broadside or flood light with three silk diffusers, plus a photoflood in Hie table lamp in foreground furnishes major illumination for this set. Backlighting is supplied by two small spotlights set high over window.