arri lighting handbook - english version

8/7/2019 ARRI Lighting Handbook - English Version

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I m a g e s a n d T e x t 2 0 0 5

b y B i l l H o l s h e v n i k o f f

For more detailed information about the

lighting techniques described in this booklet,

please go towww.poweroflighting.com

ARRI INC.617 Route 303, Blauvelt, NY 10913

Ph: 845-353-1400 Fx: 845-425-1250

600 North Victory Blvd., Burbank, CA 91502

Ph: 818-841-7070 Fx: 818-848-4028

e-mail: [email protected]


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ARRI LIGHTING HANDBOOK

LIGHTING THEORIES AND TECHNIQUES:

There have been dozens o books throughout the pastdecades that have discussed standard lighting setups

or interviews, talk shows, dramas and countless otherproductions. This handbook is designed to help youcreate the best possible images with your new ArriLighting Kit and help you to use these tools when lightinglocation or studio productions. CHOOSING A LIGHT SOURCE:

Arri Kits contain a variety o lighting xtures. The twobasic types o instruments are the open- aced instrumentand the Fresnel-lensed instrument. Both types o lightsources provide a ocusable, even beam eld o light thatcan be used to create a wide variety o light qualitiesand moods or your productions.

Arrilite OPeN-FACe

Arri FreSNel


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LIGHT QUALITY can be characterized by how hardor so t the shadow produced by an instrument appears.The quality o light produced by an instrument is deter-mined by the physical size (not the intensity) o the lightsource. In general, the larger, more di used the lightsource, the so ter the light quality. Typically, a di usionmaterial, such as rost or a silk, might be placed in ronto a lighting instrument to increase the working (physical)size o a light source. (When light transmits through adi usion material, the illuminated di usion material thenbecomes the acting light source.)

A sharp, well-de ned shadow edge (hard light), like thato the sun, is most o ten produced by a small light source,such as one o the instruments contained in this kit.A so ter, less-de ned shadow edge (so t light) like that oa cloudy day, is most o ten produced by a larger, moredi used light source, such as a So tbank (available withsome Arri Kits).


Arrilite WitH FrOSt

Arrilite WitH SOFtbANk


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HARD LIGHT VS. SOFT LIGHT:There is no rule as to when to use hard or so t light ora shot or scene. Creating a particular light quality is a

judgment call, and there are no wrong or right answers.There are, however, characteristics that are inherent toboth hard and so t light, and one must constantly weighthe pros and cons o each prior to lighting a scene.

In general, hard light is easily controlled through the useo the barndoors on the xture, and it can be used toproduce dramatic shadows and attractive lighting e ects

or lm or video. When lighting people or interviewswith hard light, one must care ully consider the place-ment o the light source in order to produce appealingresults on camera. An ill-placed Fresnel or open- acedinstrument can produce unkind results on even the mostphotogenic persons.

Fresnel-lensed lights produce an attractive light qualityand an extremely even eld o light, and are the mostpopular instrument choice when hard lighting is required

or studio and location work.

While Arrilites also produce an even beam eld, theseinstruments generally are not used to light people

directly. The Arrilite instrument is most o ten used tocreate a ll light source, by bouncing light o o walls,ceilings or bounce boards (on location); to use with di u-sion rost or behind a So tbank; or to light backgroundareas. When used as a direct source (no di usion), theglass lens on a Fresnel produces a more pleasing qualityo light than an open- aced instrument. In addition, open-

aced lights may create multiple shadows as the lightrom the refector is at a slightly di erent angle than thedirect light rom the lamp.

The use o so ter light sources can be more orgivingwhen lighting people, but so ter, di used sources can bemuch more di cult to control. Di used light disperses in

many directions, and although the light quality may bedesirable or a particular shot or scene, the uncontrolledspill light rom a di used source can ruin even the besto shots. Much o lighting has to do with directing the



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viewers eye around the screen, and when spill light romyour main light sources contaminates the background oyour shot, the lighting can appear haphazard and losevisual impact. Once again, care ul consideration o yourlight placement will dramatically improve the result.

When working with a So tbank, control o the di usedlight can be achieved with a product called a So t EggCrate (manu actured by LightTools). This product is acollapsible abric egg crate that can be quickly attachedto the ront o a So tbank. The use o an egg crate on

a So tbank provides the user with instant control o spilllight with little light loss.


SOFt eGG CrAte ON SOFtbANk


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LIGHT SOURCE INTENSITy:The intensity o the light sourceyou choose or a shot is an important decision. Brighteris not necessarily better. Depth-o -Field ( -stop = depth o

ocus) and -stop selection with your camera should be aconscious decision each time you begin lighting a shot.

Many o the newest video cameras are extremely lightsensitive. Lighting a scene with too much light orces youto close down the iris to a deeper -stop ( -8 - ) toproperly expose the scene. This creates a very deep ocusrange (depth o eld) in your shot. Selective ocus is notan option unless you are shooting at the very longesttelephoto lens setting on your digital video camera.

Selective ocus is a simple method o ocusing the viewersattention on a particular subject or area in the rame.Using smaller lighting instruments and less light allows youto expose your scene at an iris setting o perhaps - .0or - .8. Shooting with an open iris (aperture) creates ashallower depth-o - eld and allows you to utilize selective

ocus as a creative tool in image-making.

Additionally, you can down-lamp your Arri instrumentsto use lower wattage bulbs. For example, the Arri 0Fresnel also can use a 00 or 00W lamp. This provides

you with the wider beam- eld o the larger Fresnel whilestill working with lower light output. Many videographersnow choose the more compact ARRI D So tbank kits,which use smaller, lower wattage xtures. Shooting atlower light levels with the newer cameras allows the useo instruments as small as a 0W Arri Fresnel. Used inconjunction with proper lighting techniques, shooting with

a shallow depth-o - eld can enable you to create more oa lm-look when shooting with your video camera.

A NOTE ON COLOR:The color o the tungsten lightingxtures in your Arri Kit is rated at , 00 degrees on the

Kelvin temperature scale. Although the light rom theseinstruments may appear as white light on video or lm, itis actually a very warm-colored light relative to the coloro daylight. Choosing a tungsten lm stock or setting yourvideo camera or tungsten ( , 00K) will give you propercolor rendering when lighting with these xtures. Becare ul when white balancing your camera that you are


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balancing your camera or the light in your subject area.Proper white balance will ensure accurate skin tones inyour video productions.

Sometimes, you may be shooting in an area with existingambient light and the color o that ambient light maydi er dramatically rom the color o light generated by theinstruments in your Arri Kit. The color o fuorescent light ino ce areas, commercial light in retail or industrial settingsand ambient daylight all di er greatly rom the color olight created by your tungsten lights. In these cases, it maybe necessary to color correct your lighting instruments tomatch the color o the ambient light in your scene.

Your Arri lights can be color corrected through the use ocolor correction gels which can be attached directly to thebarndoors o your instruments. Just be aware o the actthat using gels on your lights can greatly reduce the output

o light (i.e. ull CTB (daylight) correction gel can reduceoutput by as much as 8 %). Also, gels can burn when settoo close to the lamp or lens on your lights. Care ul use ocorrection gels can help you to manipulate and match thecolor o the existing light in your scene.

There is a great deal o in ormation available on the

subject o color correction gels (see Power o Lightingvideos at the back o this booklet) and you should gainan understanding o this subject i you wish to better yourlighting practices.

Additionally, you might consider supplementing yourlighting package with additional Arri lighting instruments

designed speci cally or production use in daylightsettings. Arri HMI (daylight balanced) instruments are useddaily in motion picture and video production work aroundthe world. See your local Arri equipment dealer or visit theArri website or more in ormation. www.arri.com


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8 ARRI LIGHTING HANDBOOK8 ARRI LIGHTING HANDBOOK

SOME BASIC DEFINITIONS:

THE FOUR PRIMARY LIGHT SOURCES:KEY, FILL, SEPARATION & BACKGROUND

IN THIS SECTION, THE LIGHTING EVOLUTION OFIMAGES SHOWS THE SINGLE EFFECT OF EACH OFTHESE FOUR SOURCES IN A TALKING HEAD SHOT.

KEy LIGHT:The key light is the primary light sourceor the subject area o the image. The key light is the

main source o illumination and o ten establishes a lightquality, whether hard or so t, or the shot or scene. Whenlighting people or on-camera interviews, the objecto the key light is to illuminate the person in an attrac-tive manner and reveal the shape o the persons acethrough shadow orm (modeling). An Arri Fresnel is o tenthe choice or a key light source (due to the ease o useand light control). So tbanks also are a popular key lightsource or interviews.

Position o the key light can range rom directly above thecamera lens to completely behind the subject, dependingupon the desired results. Seeing the e ects o the keylight shadows on the subjects ace will help you to deter-

mine the best height and location or this light. Whenlighting or multiple cameras, it is usually best to placethe key lights or optimal results on the close-up camerapositions or each subject. Regardless o the quality olight you choose, the light rom the key source should becon ned to the subject area i you hope to achieve a

key liGHt ONly


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key & Fill liGHtS

dramatic lighting e ect or the image. I a less dramatice ect is desired, the spill light rom the key source can beallowed to illuminate the background area as well.

FILL LIGHT:The ll light is an additional light sourcedesigned to ll in the shadow areas created by the keysource. Ideally, the ll light source is a larger, di used so tlight source that will ll in the shadow area to the desireddensity (light level) without producing a second, opposingshadow on the subject(s). Think o your ll lighting asambient light or the shot or scene, and as your visualmood indicator. The less ll light, the more dramatic the

lighting. Regardless o whether your key source is hardor so t light, using a hard light source or a ll light cancreate an unnatural double-shadow e ect on the talent/subjects. Use o a large silk, a So tbank, dense whitedi usion material on the barndoors, or bouncing the lighto o a white sur ace (wall, bounce board, etc.) canproduce a natural and e ective ll light source. Whenshooting only a close-up o a single person, o ten the spilllight rom your key source can be directed at a large,white bounce card or a so t, shadowless ll light (seeexamples). The position o the ll light can vary greatly,but normally ll light sources are set either near thecamera lens or at a position opposite the key light source.


FILL LIGHT


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SEPARATION LIGHT (HAIR LIGHT):The separation light,or hair light, is designed to help visually separate thesubject(s) rom the background. A separation light is

not always necessary, but without the use o this light,it is possible that the subject could blend with thebackground. Use o a separation light also helps to bringout color and texture in the subjects hair. Brightness othe separation light can equal the brightness o the keylight source, but or interviews, the separation light isusually less bright than the key. Position o this sourcecan range rom directly behind and above the subject tojust outside o the rame line to create a side rim-light. Asis true with almost all light placements, the e ect o theseparation light is dramatically altered by its position.Experiment with di erent light qualities and placements to

nd your own avorite look.

BACKGROUND LIGHT:The background light can be therst or nal light to be set or a scene or shot, depending

upon the importance o the background lighting in thescene and your lighting style. I care ul consideration hasbeen given to the control o spill light in the subject area,the e ect o your background light can be quite dramatic.The addition o a background light also can help to addtexture, color and/or added separation or the subject(s)

rom the background. Direction o the background lightalso can help to support key light direction and motiva-tion (i.e. light rom a window, etc.). Both Fresnels andArrilites can be used e ectively to light backgroundareas.

0 ARRI LIGHTING HANDBOOK

key, Fill & SePArAtiON liGHtS

SEPARATION LIGHT


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key, Fill, SePArAtiON & bACkGrOUND liGHtS

1K ARRILITEWITH LIGHTBANK

300W FRESNEL

WHITEBOUNCECARD

FROSTBACKGROUND

SEPARATION

KEY

FILL

WINDOW

300W FRESNEL


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Artists o all types are constantly working to create a-dimensional image on a -dimensional plane (motion

picture screen, television screen, paper, etc.). Theollowing in ormation will help you better identi y and

manipulate the separate components o refected light.

THEORy OF 3-DIMENSIONAL CONTRAST

The Theory States: A single light source directed at a singleobject o a single density normally will produce threeseparate densities: the di used value, the specular highlightand the shadow. The presence o these three densities canreveal shape, orm, texture, density and depth.

DIFFUSED VALUEThe true tone or natural brightness o anobject. Accurate reproduction o the di used value o tendetermines a proper exposure. The di used is a constant,objective value, while the shadow and specular are

variable and subjective.SPECULAR HIGHLIGHTThe mirrored image o a lightsource on an object. The specular highlight is alwaysbrighter than the true tone o the object. A properlyplaced specular highlight will reveal shape and texture onan object.

SHADOWThe area on a -D object that receives noillumination rom the primary light source. The shadowis always lower in brightness than the true tone o theobject. A properly placed shadow will reveal shape and

orm on an object.

SHADOW EDGE TRANSFERThe area o transition betweenthe di used value and the shadow. It is the primaryindicator to determine the quality o light produced, i.e.hard or so t light.

SPECULAR EDGE TRANSFERThe area o transitionbetween the di used value and the specular highlight.The specular edge trans er usually de nes the sur acetexture o an object. The smoother the sur ace, the harderthe edge trans er.

RULE OF THUMB The larger the light source, the so terthe light quality.



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ELEMENTS OF3-DIMENSIONAL CONTRAST

tHe FOllOWiNG PAGeS SHOW iMAGeS AND DiAGrAMS tHAt Will PrOviDe yOU WitH bASiC liGHtiNG SetUPS tHAt yOU CAN ACHieve WitH yOUr Arri kit FOr A vAriety OF StUDiO AND lOCAtiON PrODUCtiONS.

SPECULARHIGHLIGHT

SHADOWEDGETRANSFERSHADOW

DIFFUSEDVALUE

SPECULAREDGETRANSFER


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TecHnIcAL DATA

- Small So tbank

- ,000 watt Arrilite (inside So tbank)with double wire scrim - 00 watt Arri Fresnel

1K ARRILITE

SMALL

LIGHTBANK

300W FRESNEL

WHITE WALL


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TecHnIcAL DATA

- Small So tbank

- ,000 watt Arrilite* (inside So tbank) - 0 watt Arri Fresnels** / CTB correction gel on all sources

650W650W

SMALLLIGHTBANK

1K ARRILITE

1/2 CTB 1/2 CTB

1/2 CTB

WINDOW

WHITEBOUNCECARD


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TecHnIcAL DATA

- 0 watt Arri Fresnel (bounced o white board)

- 00 watt Arri Fresnel(GAM 0 0 rost on ront o barn doors)

650W FRESNEL

300W FRESNEL

FROST

WHITEBOUNCECARD


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TecHnIcAL DATA

- Small So tbank

- ,000 watt Arrilite (inside So tbank) - 00 watt Arri Fresnels


300WFRESNEL

300WFRESNEL

PLANT

1K ARRILITE


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TecHnIcAL DATA

- 00 watt Arri Fresnel

300WFRESNEL

WHITE BOARD

BLACKCARD/ FLAG


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TecHnIcAL DATA

- Small So tbank

- ,000 watt Arrilite (inside So tbank)with double wire scrim

1K ARRILITE

STUDIO SET WALL

STUDIO CAMERA


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TecHnIcAL DATA

- 00 watt Arri Fresnels

300W FRESNEL

300W FRESNEL

WHITEBOUNCECARD


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TecHnIcAL DATA

- Small So tbank

- ,000 watt Arrilite (inside So tbank) - 00 watt Arri Fresnels(GAM 0 rost inside barndoors o separation light)

1K ARRILITE

300W FRESNEL

300W FRESNEL

WHITE WALL

1075FROST


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TecHnIcAL DATA

- 00 watt Arri Fresnels

300W FRESNEL

300W FRESNEL


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TecHnIcAL DATA

- 00 watt Arri Fresnels(GAM 0 rost on bottom hal o barndoors oneach key light)

- C-stands with grip arms

- Small So tbank - ,000 watt Arrilite (inside So tbank)with double wire scrim

300W FRESNEL

300W FRESNEL

1K ARRILITE

C-STAND

C-STAND


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TecHnIcAL DATA

- Small So tbank - ,000 watt Arrilite (inside So tbank) - 00 watt Arri Fresnel (GAM # 0 amber gel) - 0 watt Arri Fresnel (GAM # 0 amber gel)

300WFRESNEL

650WFRESNEL

PLANT

SHUTTERS

1K ARRILITE


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Volume I - l IghtIng Faces :

A comprehensive look at the arto lighting people. Youll learn how to use hard and so t light, and simplelighting techniques or lighting di erent skin tones, people with eye glasses,and balding heads. Discover which type o lighting instruments will giveyou the look you want, how to determine contrast ratios, and much more!( 0 mins)

Volume II - l IghtIng InterVIews : This program providesdetailed in ormation or lighting a variety o interviews ranging rom single-camera news and location setups to multi-camera studio programs. Learnto improve your EFP lighting, understand HMI (daylight balanced) lighting,and discover how to make your studio interviews look their best, regardlesso the number o on-camera talent. ( mins)

Vol III - c olor c orrectIon & F IltratIon : This

program examines the light and color spectrum as it relates to shooting lmand tape. Youll see how to use color correction gels and lters to makeyour location lighting look its best. Learn to gel windows quickly, colorcorrect or fuorescent lighting, mercury vapor lights and much more. Also,discover the art o ltration and see how the use o some basic lters canchange the look o your productions. ( mins)

Vol IV - l IghtIng Backgrounds : Every shot has abackground, and too o ten the importance o backgrounds is overlooked.This program provides detailed lighting diagrams and dozens o images todemonstrate just how important background lighting can be. See the toolsand techniques used to light both interior and exterior locations and studiosets. Light control techniques and background treatments are explored indepth. ( mins)

IMPROVE THE LOOK OF yOURPRODUCTIONS DRAMATICALLy

LIGHTING THEORIES & TECHNIQUES

FOR FILM & VIDEO PRODUCTION

DVDs or VHS . ea., or order ALL or $ .00CA res tax added. Add $ .00 S & H or rst video, and $ .00 oreach addtl tape VISA/MASTERCARD/AMEX ORDER NOW!

1 - 7 0 7 - 9 3 3 - 0 7 0 7

1-707-933-0770

Fax

www.poweroflighting.com

t he Power oF l IghtIng dVd or Vhs by Bill Holshevnikoff


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2005 Bill Holshevnikoff

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