WEEK 4
In week 4, we’ve learned about how to build the natural lighting look. There is some equipment we use. we have learned using the reflectors. if you are out on a light sunny day and your talent is wiped out entirely in sunlight, you will want to use a reflector to make some negative fill to match the talent’s face. Or similarly, if your actor is beside and your camera does not focused on details in the dark condition, it will be essential to have that bounce. also one of the number one items that indie natural light studios do not seem to give enough attention to is using banners and reflectors, and you can find it a mile away. Furthermore, to create a natural look, having the sun behind your actor or topics is essential for daytime outdoors. watch any large-scale function film filmed in accessible sunshine and you will realise it is accomplished in almost every picture of the outside day, and for excellent purpose. on of the ugliest sights you can get when working with natural light is to get your actor to beat their heads with rough sunlight, producing shadows and unflattering images all around. you are fundamentally doing 2 stuff by placing your actor in a manner that puts the sun behind them to reach the side of their faces. Also, they will obviously have a backlight with the sun behind them that will distinguish them from the backdrop and produce a beautiful border around their face.
In the class for lighting practice, I can see the backlight in this shoot is bit strong, and when she looking the left, I can see her face is over exposed. furthermore, outside of window is over exposed as well. but in the second shoot, the lighting on their faces is getting better after we adjusted the ISO and the use the reflector. The light in there become some and none much over exposed contrast. After 2:05 in the video, the fill light in the left side is strong so we can see actor’s shadow on their face.
WEEK 5
In week 5, first of all the value of describing a painting is to gain the knowledge of what does the lighting effect a painting, which about the color’s lightness or darkness. since we see items and comprehend items because of their darkness or color, valuation is incredibly essential to architecture . and also improve to recognise the colour.
In week 5 we have talked about the soft light source. the shift from dusk to bright is progressive the soft light. Instead of an readily recognisable row in which the shades begin, there is a gradual gradient in which the bright regions move to the darkness. It’s less dramatic and often flattering widely. Soft light shoot can still be contrasting. light and shadows still exist, the room hard light. Also the pictures with soft light are less drastic with a less abrupt shift between the colours and the darkness.
In the lighting comparison shoot. First shoot, the light come from the window. So we can see the actor’s left face is brighter than her right face. and the lighting is bit soft, so the shadow doesn’t appear much. In the second shoot which is we using the blue gel bounced off core board. in this shoot we trying to build a natural lighting look, so we using the blue gel to bounce the light which is to make a soft lighting condition. and we didn’t using the reflector in this shoot so we can see the lighting on her left and right face is really different, there are more shadows on her right face, but to compare for the first shoot, this shoot is most similar with it. In the third shoot we using the same light set but with the reflector. we could see the lighting on her face become balanced and the light is soft, there are no much shadows on her face anymore.
WEEK 6
In week 6 classes, we’ve talked about why film need light. I think good graphics makes the distinction between a excellent and a bad clop, nobody likes to see a film that is not properly illuminated. it is also essential to note that excellent ventilation helps to improve sharpness, everybody understands how hard it is to bring a small brightness clips or photo or when it is too noisy. studying an understanding how lighting works id useful and can’t be achieve in just one day. So film is lighting.
In class, we have learned the top light. We are using the reflector on the top of the subject. Using a reflector works with this by projecting available light in to the regions of the body of the subject that without shadow. In exercise 6, we have using this tips for our shooting. In the first shoot we set up in the building 8 canteen, there is a beautiful top light. Furthermore, we change a another place for recreating the light, we have found 2 spotlights on the wall and it is flexible, and we are using 2 reflector, one of this is on the top of our actors, another one is down of our actors, so we created a quite same light with our first shoot.
SUDDEN FEAR(1952) Scene analys
In class 12, we’ve watched a scene of SUDDEN FEAR.
Sudden Fear is a 1952 American film noir thriller directed by David Miller, and starring Joan Crawford and Jack Palance in a tale about a successful women who marries a murderous man. The screenplay by Lenore J. Coffee and Robert Smith was based upon the novel of the same name by Edna Sherry. (WIKIPEDIA)
We have watched the scene is Irene hidden in the chest. In this scene the plot is compact and the music creates an atmosphere of tension. In this scene, most of shoot of Irene is MCP, because her acting, expression was crucial so that to foil the film’s atmosphere. A narrow sense of film noir- genre, it refers specifically to Hollywood crime movies of the 1940s and 1950s, often depicting shady urban corners, decadent male protagonists, deadly femme fatales, and the moral abyss of fatalism. For talking about this film’s style, scene scheduling and visual style, low Ley and back white photography, in terms of narrative style, the plots are laid out in a non-linear way.
REFERENCES
https://en.wikipedia.org/wiki/Sudden_Fear