STUDENT NAME: STIENBERG TAN GEOK YONG Email: robin.stienberg@yahoo.comI/C Number S7234046I Tel: +65-87421029Student number: TM15-10163 A TMC Academy Higher Diploma Essay Project Copyright 2016, All Rights Reserved.

Lighting – The Magic Experience

ALTERNATIVELY, IS IT SECRET?

STIENBERG TAN GEOK YONG | FLM201 | October 5, 2016

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There are three questions that we will compare in this essay.

1. We will examine ways, what, when, where and how the efficient lighting is and is not for Industry vs. Adventures?

2. Is it need? 3. Conclusion and Future

An Introduction of Lighting for Entertainment

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When was Lighting Introduced in Film and Television?

The Discovery of lighting begin is studied as long as 400,000 BC as archeologist

suggested. Fire use to be lighted up by a prehistoric man from the use of wood and then

on to oil lamps to enhance the surroundings. As time goes by lamps were then made by

rocks, horns, and stones along with grease or fiber wick to support the illumination.

Support these evidence, many of the pre-historic lamps were found at Lascaux Caves at

Modern day France date back 15,000 years. It also found oily birds and fish used as

lamps after it threaded with a wick.

Even fireflies were used for lighting sources and then on candles, glass pottery to

chandeliers were the early form of fixtures for both primary domestic and entertainment.

2 . 3 Point Lighting and others

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Before introducing an argument of this case study of comedy and horror of its use on

lighting between advantages and disadvantages I will first explain what lighting terms are

all about and why the three point lighting is the primary use for both on and industry use.

The Three “Points” or three point lighting described as three roles the light plays in a

scene with each serving a particular purpose and function.

Firstly – Key Light, the light creates the person or subject, object first illumination and

defines the dominant space for lighting. The Key light is usually brighter than any other

light illuminating the object or subject. Usually, the subject is usually the light that casts

the darkest, and most visible shadows in the film.

Secondly – Fill light, this light characteristic is often defined and recognize as softens and

expands the illumination distributed by the key light and enhances more on the object.

Fill lights often enable simulation the efforts of reflected light or light secondary resource

in the film.

Thirdly – Backlight creates a unique edge to help visually divide the object or subject

from the background. The background can glint off the subject's hair lights and add the

edge where the issue ends, and the experience begins.

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Lighting Horror Verses Comedy the Advantages and Disadvantages

We will now examine examples of some films that have use lighting to the power and

problems of the characters that reflect the protagonist or antagonist.

He chose (Speilberg) 4k Xenon lamp, for instance, to create the hard shadow for their car since infill daylight. This is because they were in New Mexico and the temperature was 108 degrees, and all their lights were blown off because of the heat. This is informed by his staff Devlin the technical light set engineer. Moreover, because of the heat, to protect all mechanical devices and instruments they had to build in air conditioning coverage for the entire set including protecting the cables and heads. Speilberg approved of the coverage and budgets when it comes to safety and quality of lighting for film.

Did 4X Xenon Lampwork for the set? The answer is yes. It needed to calibrate the way it is the angle and covered. It needs to study and test trial on the film says, Spielberg.

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Speilberg also went on and explain “Not only we had to use that type of lights but also T5.6 stop models – they are super bright overhead lights that I had to use them in the shot, so we also had T1622 as well. According to Devlin, they ended up using over 4,000-watt practicals, and them were oversized regarding bell housing which is a small problem. However, because of the size or scale of the project, it is not noticeable because we had 120 housing made and each container four 1000 Watt Narrow Spot Par 64 bulbs. The Chief rigging officer Mark Mele added that coverage so that no one would notice the cables.

Apart from this challenge Spielberg also has to bring in the following technical lighting specifications at Yale Univeristy, the exteriors, the production had altered storefronts and brought in hundreds of period cars and extras, high-speed motor chase; the chase winds through the interior hallway of a library. Because of the demanding requirement, the lighting uses to scale high critical, and several angles employed by bringing in six 15-6k Bebee Night lights for the hallway.

They were real benefits because that model of light is enabled us to move more mobile faster to one location to other location even in science faster, the only obstacle is that it would not give us 100% full shadow coverage, perhaps 90%.

Indeed in this example of Indiana Jones movies, it does not spare mistakes from lighting if one is to observe why there're shadows that would not enhance the entire sence or the hero himself perhaps its Indiana Jones and its forgiving due to its brand.

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Matrix in lightings.

In a sense the shot by shot description will allow us to understand why and what makes it apparently create a good and direct shot of the character both Neo and Trinity. In the first shot, a dolly move from behind pillars and intermittently shows the club and significant it sets the tone for the whole scene. From there it sets up the excitement visually, (lighting from three angles and even the forth is used. When we adopt the fourth angle all is broken up by intermittent total darkness across the entire image.

In the next example

Neo with dolly move that pushes past a picture of a hand caressing a leather-clad backside. By pressing the camera past any element and isolating Neo in the frame, to understand visually, he has divide himself from the carnival revelry of the club and is there in seriousness about finding out more about the Matrix.  Another aspect of this shot is the background of the organization seen through the archway, which is closed up in its compositional sub-frame by the architecture. Neo stands off to the side of this sub-frame, further isolating him compositionally from the revelry. In this shot, we have both the foreground and background working (without words) to tell is exactly how Neo feels about being in the club, and why he is there.

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When Trinity approaches, we see Neo in a medium close-up followed by a medium, that are dismissive profile shots (which feel completely natural because of the blocking decision to have him partially keep his back to her). This is in contrast to Trinity’s medium close-up, which is on-axis with her eyeliner. These shots are about the dramatic beat of Neo trying to “play it cool.” He does not want to appear overly eager for information about the Matrix even though he has come in desperation for detail that will bring him closer to understanding what it is. This is in total difference to Trinity’s on-axis medium close-up, that confirms her entire face, gives the sense of confidence and even straightforward. To further reinforced by the lighting on their faces: a three-quarter backlight leaves much of Neo’s head in silhouette, while a front-light wraps almost entirely Trinity’s face, again in contrast to Neo’s clam dismissiveness with Trinity’s sincerity. One other aspect is the height of the camera. On Neo’s side, the medium shot is angled substantially below his eye line, and difference to being level on Trinity on her side. The same idea: by being below Neo’s eyeliner, he towers over and takes a more dominant feeling; a counterfeit confidence that will correct by the end of the scene. An interesting part of the pulsing light (motivated by the club environment) that flickers intermittently over Trinity’s face, casting her face in darkness and brightness.  This explores similar visual feeling as the opening shot of the scene: Neo desperate for information that is intermittently shrouded by criticism and mystery.

Trinity calls Neo’s dismissive bluff by telling him that he is in danger, and steps into a close-up. In the visual struggle between Neo’s dismissive profile and her on-axis boldness, she has by challenging his emotional bluff with her confrontational and engaging close-up.

Neo engages, momentarily, and we see him in an on-axis close-up as well. When he continues to resist, Trinity undertakes it one step further, and the move is Neo’s space, both literally and compositionally. With this action, Trinity has turned the tables of Neo’s earlier posturing and dismissiveness and has mostly taken power on the scene undermined Neo off guard. The before and after singles on both sides, giving a sense of emotional non-engagement, now totally engaged. Now, Trinity in a medium close-up with convergence faces, that compose pin down Neo to the wall, this demonstrate how she has called his bluff, and now has him in her clutches. These new compositions also cross the 180-degree differ from the earlier set of shots.  This enhances react by axis-switching by Trinity reinforces the change of power in the scene.

In this new switched medium close-up we see less of Trinity’s face (both regarding being in profile, as well as darkness) than Neo who is now more on the face with the camera and lit brighter. In better touch up, we see Neo’s disorientation with series of randomly swarming blue out of focus lights with a background towards medium close up. The

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randomness towards a circular pattern of light reminiscent of the floating stars shown nocked-out cartoon characters heads and give Neo a similar sense of disorientation.

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In conclusion is bad lighting or good lighting exist in the filmmaking the world? What theories does it carry the weight from Hollywood to the small Islands like Singapore? Do these arguments had any merit to Lightings in filmmaking should it make any mistakes?

The answer is yes and no.

If filmmaking in lighting does have any merits if not all is only because it was and done in the name of art and commercialism. Audiences around the world can only judge by the substance of the stories if any if the story is good and is not biased toward religion or any form of creed.

In lighting, many experts dare say that it is art and realism from, why because according to Spielberg in my email interview, he has this to say:

“In my years of filmmaking since the beginning, my partnership and friendship with crew members added to my success, especially with George Lucas. Industrial, Light, and Magic came to fulfill that need to add the expertise on Lighting and the added magic enhancement to entertain and educate audiences.

Let me explain in three points the importance and welfare of lighting in Film:

1. The basic three point lighting is the foundation to ensure how any production is want to be made nicely and appropriately as well as even professionally. This serves a the necessary backbone for any student and growing new filmmaker and crew engineer.

2. To understand lighting and the effects is also by trial and error before the actual production, I always experiment light shots behind the scenes for months to years for some of my projects such as ET when I film that movie, there were many mistakes I had made on lighting especially I used too much of the backlight than highlights.

3. Lastly, I always learn from others even from my competition, I always humble myself and attend master classes and lectures at Institutions for more update because why technology always changes. New ways and better methods are yet to be discovered, perhaps even cost saving.

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References

1. Spencer, D A (1973). The Focal Dictionary of Photographic Technologies. Focal Press. p. 454. ISBN 978-0133227192.

2. Jump up ^ Ronalds, B.F. (2016). Sir Francis Ronalds: Father of the Electric Telegraph. London: Imperial College Press. ISBN 978-1-78326-917-4.

3. Jump up ^ Ronalds, B.F. (2016). "The Beginnings of Continuous Scientific Recording using Photography: Sir Francis Ronalds' Contribution". European Society for the History of Photography. Retrieved 2 June 2016.

4. Jump up ^ Clegg, Brian (2007). The Man Who Stopped Time. Joseph Henry Press. ISBN 978-0-309-10112-7.

5. ^ Jump up to: a b Landecker, Hannah (2006). "Microcinematography and the History of Science and Film". Isis. doi:10.1086/501105.

6. Jump up ^ Baker, T. Thorne (1932). "New Developments in Colour Cinematography". Journal of the Royal Society of Arts.

7. Jump up ^ Baker, T. Thorne (1932). "New Developments in Colour Photography". Journal of the Royal Society of Arts.

8. Jump up ^ "World's first colour film footage viewed for first time". BBC News.9. Jump up ^ "Julia and Julia (1987)". IMDb.10. Jump up ^ "The Last Broadcast is A First: The Making of a Digital Feature".

thelastbroadcastmovie.com.11. An Email Interview with Steven Spielberg and Robin Stienberg (TMC) 201612. The Cinematography of “The MATRIX” BY Benjamin Kantor at cinevenger.com

2012

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