Brown, B, (2011), Cinematography Theory and Practice: Image Making for Cinematographers and Directors, Focal Press, London
P.104-105
First, (unless you are going for a specific effect), the lighting itself must be color balanced. The two most common standards are daylight balance (5500K) and tungsten balance (3200K), but other balances are possible using a grey card or a test chart or by white balancing to a neutral card.
P. 106
Many tools affect the mood and tone of a scene: color, framing, use of lens, frame rate, handheld or mounted camera - indeed everything we can do with camera and lighting can be used to affect the audience's perception of the scene.
P. 107
In terms of lighting, just getting enough light into a scene is usually not difficult. What is critical is correct exposure. Certainly it is a job for lighting, (in addition to iris, frame rate, gain and shutter angle) but don't forget to think of it as an important image making and storytelling tool. Most of the time we want terminally "correct exposure.
One is the overall exposure of the scene;this controlled by the iris, the shutter speed, gain and neutral density filters. All of this controls exposure for the entire frame. Except for some types of neutral density filters (called grads), there is no chance to be selective about a certain part of the frame.
P.124
If you are dealing with direct sun, however, controlling it can require constant attention and adjustment. When dealing with actors in direct sun, you have several choices: diffusion of the harsh sun, filtering and balancing the shadows, finding a better location or angle for the shots, or moving the shot into open shade.
P.104-105
First, (unless you are going for a specific effect), the lighting itself must be color balanced. The two most common standards are daylight balance (5500K) and tungsten balance (3200K), but other balances are possible using a grey card or a test chart or by white balancing to a neutral card.
P. 106
Many tools affect the mood and tone of a scene: color, framing, use of lens, frame rate, handheld or mounted camera - indeed everything we can do with camera and lighting can be used to affect the audience's perception of the scene.
P. 107
In terms of lighting, just getting enough light into a scene is usually not difficult. What is critical is correct exposure. Certainly it is a job for lighting, (in addition to iris, frame rate, gain and shutter angle) but don't forget to think of it as an important image making and storytelling tool. Most of the time we want terminally "correct exposure.
One is the overall exposure of the scene;this controlled by the iris, the shutter speed, gain and neutral density filters. All of this controls exposure for the entire frame. Except for some types of neutral density filters (called grads), there is no chance to be selective about a certain part of the frame.
P.124
If you are dealing with direct sun, however, controlling it can require constant attention and adjustment. When dealing with actors in direct sun, you have several choices: diffusion of the harsh sun, filtering and balancing the shadows, finding a better location or angle for the shots, or moving the shot into open shade.
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