Select from one of the readings from week 5, 6 or 7 and describe two points that you have taken from it. Points that excite you, something that was completely new to you.

Malkiewicz, K. Film lighting : talks with Hollywood’s cinematographers and gaffers, (p. 99-115, 128-135). New York: Pretence Hall, 1986.

While Malkiewicz largely concerns himself with lighting an indoor scene or soundstage, many of the notions established in the reading prove both interesting and valuable with consideration for my group’s own film. Only some small portion of the film’s events occur indoors, however time of day is of considerable significance with regard to the narrative events of our project. As such I found it particularly exciting to read the section he had written on establishing temporal significance and accuracy through the selection and positioning of key lighting. As Malkiewicz writes, early morning and late afternoon light enters a room at a low angle, the glow of sunrise or sunset can be simulated by the placement of an orange gel over the light source. furthermore, when lighting a daylight interior scene, where possible it proves most realistic to light through windows, these being the primary light source in a regular room, this proves particularly convenient to bear in mind as the setting we have selected to shoot our project contains several interior windows.

Completely separate from the work my group and I have been considering, are the notions regarding character lighting Malkiewicz discusses in a later point of the reading. While I was familiar with this in the most melodramatic sense, initially being reminded of film noir, I was surprised to learn the technique was still actively and subtly employed to the present day to infuse characters with certain traits and motivations. Naturally as Malkiewicz outlines, this comes with its own set of challenges, character lighting must accomodate the moving subject as well as taking into account the contraints which accompany the specifications of setting.