15-4:
To produce completely shadowless lighting, a white fabric sheet can be used.
15-5:
Classic three-point lighting uses key, fill , and rim(back) lights on the subject, plus a background light.
Friday, April 29, 2011
Monday, April 25, 2011
15-1, 15-2, 15-3
15-1:
Classic studio lighting is a system in which uses three lights on the subject and usually one or more on the background. It is often referred to as three-point lighting.
1. Key Light - this is the main illumination which is similiar to a light or lamp fixture. The end of the key light is commonly a spotlight.
2. Fill Light - this is the filling of the shadows created by the key light. It is used to reduce the cheek, lip, and neck shadows.
3. Rim (Back) Light - typically behind the subject of the frame. Generally mounted on over-head clamps or stands.
4. Background Light - Similiar to the key light, it is the light that would naturally fall on the walls or other background items.
15-2:
Natural lighting is a more natural form of lighting as opposed to three-point lighting. The key to this approach is using soft light.
15-3:
One way to light a background is adjusting the intensity. To do this, one must even out the light pattern by using a double screen positioned in the spotlight's filter holder.
Classic studio lighting is a system in which uses three lights on the subject and usually one or more on the background. It is often referred to as three-point lighting.
1. Key Light - this is the main illumination which is similiar to a light or lamp fixture. The end of the key light is commonly a spotlight.
2. Fill Light - this is the filling of the shadows created by the key light. It is used to reduce the cheek, lip, and neck shadows.
3. Rim (Back) Light - typically behind the subject of the frame. Generally mounted on over-head clamps or stands.
4. Background Light - Similiar to the key light, it is the light that would naturally fall on the walls or other background items.
15-2:
Natural lighting is a more natural form of lighting as opposed to three-point lighting. The key to this approach is using soft light.
15-3:
One way to light a background is adjusting the intensity. To do this, one must even out the light pattern by using a double screen positioned in the spotlight's filter holder.
Wednesday, April 13, 2011
14-6 through 14-10
Chapter 14
14-6:
High technical standards must be achieved by creating images with light of proper quantity, contrast and color.
14-7:
Light quantity is recieved by the exact quantity of light needed to form a high-quality image. You can increase or decrease the light. An example of this is to use a reflector. You can create a shadow or have direct sunlight.
14-8:
Light contrast is the difference in brightness between the lightest and darkest areas in an image. An example of this is creating too much contrast on a scene causing the subject to appear flat and bland.
14-9:
Light color can be controlled by maintaining white balance. An example of controlling the light is combining incandescent and fluorescent lights in a scene of managing daylight coming from a window.
14-10:
Five basic lighting styles or labels used in video, film, and theater:
1. Naturalism 2. Realism 3. Pictorial Realism 4. Magic Realism 5. Expressionism
Magic Realism - this is when the digital image processing is percieved with combined elements of realism, pictorial realism, and expressionism.
14-6:
High technical standards must be achieved by creating images with light of proper quantity, contrast and color.
14-7:
Light quantity is recieved by the exact quantity of light needed to form a high-quality image. You can increase or decrease the light. An example of this is to use a reflector. You can create a shadow or have direct sunlight.
14-8:
Light contrast is the difference in brightness between the lightest and darkest areas in an image. An example of this is creating too much contrast on a scene causing the subject to appear flat and bland.
14-9:
Light color can be controlled by maintaining white balance. An example of controlling the light is combining incandescent and fluorescent lights in a scene of managing daylight coming from a window.
14-10:
Five basic lighting styles or labels used in video, film, and theater:
1. Naturalism 2. Realism 3. Pictorial Realism 4. Magic Realism 5. Expressionism
Magic Realism - this is when the digital image processing is percieved with combined elements of realism, pictorial realism, and expressionism.
Thursday, April 7, 2011
14-1 through 14-5
14-1:
Audio is the recording and reproduction of sound in support of the video (Stinson 298)
14-2:
Two problems that you may encounter with audio:
One - The audio picks up every single sound. This is a problem because the dialogue in the scene could be ruined with the extra noise that the microphone picks up.
Two - Recording a sound does not necessarily mean that the sound is recognizable or even convincing. The audio could not match the scene and sound distorted.
14-3:
Production sound is the sound that is recorded with the video. A difficulty that one could encounter is attempting to record an actual sound for the first time, such as a train derailing. The problem with this is that if the production sound of the train derailing was unsatisfactory, it would be almost impossible and dangerous to derail another train in an attempt for a better sound.
14-4:
Background sound is the sound that is heard in the background of the scene such as birds, wind, waves, traffic or other people talking. Two ways to limit background noise include:
One - turn off controllable sounds like heating ducts or background conversations during takes (Stinson 300).
Two - minimize uncontrollable noises such as traffic or wind (Stinson 300).
14-5:
Sound effects are separated from the production track. One example of how a sound effect can be created is using a sound effect library that has thousands of different noises. Another example is using a Foley studio which is "an environment in which technicians can make sounds while watching a shot on the screen and synchronizing the effects as they are recorded" (Stinson 301).
Audio is the recording and reproduction of sound in support of the video (Stinson 298)
14-2:
Two problems that you may encounter with audio:
One - The audio picks up every single sound. This is a problem because the dialogue in the scene could be ruined with the extra noise that the microphone picks up.
Two - Recording a sound does not necessarily mean that the sound is recognizable or even convincing. The audio could not match the scene and sound distorted.
14-3:
Production sound is the sound that is recorded with the video. A difficulty that one could encounter is attempting to record an actual sound for the first time, such as a train derailing. The problem with this is that if the production sound of the train derailing was unsatisfactory, it would be almost impossible and dangerous to derail another train in an attempt for a better sound.
14-4:
Background sound is the sound that is heard in the background of the scene such as birds, wind, waves, traffic or other people talking. Two ways to limit background noise include:
One - turn off controllable sounds like heating ducts or background conversations during takes (Stinson 300).
Two - minimize uncontrollable noises such as traffic or wind (Stinson 300).
14-5:
Sound effects are separated from the production track. One example of how a sound effect can be created is using a sound effect library that has thousands of different noises. Another example is using a Foley studio which is "an environment in which technicians can make sounds while watching a shot on the screen and synchronizing the effects as they are recorded" (Stinson 301).
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