Motion picture & video lighting for cinematographers, gaffers and lighting technicians

Cover
Half Title
Title
Copyright
Contents
HISTORY OF LIGHTING
	Controllable Light
	Early Film Production
	Introduction of Tungsten Lighting
	The Technicolor Era
	HMI, Xenon, Fluorescent, and LED Sources
		Kino Flo
		LEDs
LIGHTING SOURCES
	Types of Lights
	Fresnels
	LEDs
		Efficiency
		LED Panels
		LED Fresnels
		Remote Phosphor LEDs
	Tungsten Fresnels
		The 10K and 20K/24K
		The 5K
		Juniors
		1K
		650, Betweenie, and InBetweenie
		Inkie
	HMI Units
		12K and 18K
		6K and 8K
		2.5K and 4K
		Smaller HMIs
		When an HMI Fails to Fire
			Care and Feeding of HMIs
	Xenons
	Open Face Lights
		Skypan
		2K Open Face
		1000/600/650 Watt Open Face
		PAR 64
		PAR Groups
			Dino, Moleeno, and Wendy
			Maxi-Brute
			FAYs
	HMI PARS
		Soft Lights
		Space Lights
	Fluorescent Rigs
		Color Correct Fluorescent Units
		Color Correct Bulbs
	Cycs, Strips, Nooks, and Broads
	Plasma Lights
	Other Types of Sources
		Chinese Lanterns
		Lekos
		Crane Mounted Lights
		Jokers
		Dedolights
		Balloon Lights
		Barger Lights
LIGHTING BASICS
	The Fundamentals of Lighting
		The [Conceptual] Tools of Lighting
			The Attributes of Light
	What are the Goals of Good Lighting?
		Full Range of Tones
		Shape
		Separation
		Depth
		Texture
		Mood and Tone
	Exposure and Lighting
	Hard vs. Soft
	Color Control and Color Balance
	Some Lighting Terminology
	Working with Hard Light and Soft Light
		Hard Light
		Soft Light
		Direction
	Avoiding Flat Front Lighting
		Light from the Upstage Side
	Backlight and Kicker
	Intensity
	Adding Texture in Lighting
	Color
	Lighting Techniques
		Classical Hard Light
		Ambient
		Bringing it Through the Windows
		Motivated Lighting and Practicals
			Motivated Light
			Lighting with Practicals
		Available
	Basic Principles of Lighting
		Back Cross Keys
		Ambient Plus Accents
		Lighting Through the Windows
		Available Light Windows
		Day Exteriors
		Open Shade and Garage Door Light
		Sun As Backlight
		Magic Hour
CONTROLLING LIGHT
	Hard Light and Soft Light
		Fill for Day Exteriors
		Silks and Diffusion
	Scrims and Barndoors
	Flags, Solids, and Nets
	Chimeras and Snoots
		Softboxes
		Eggcrates
	The Window Problem
		ND for Windows
	Cookies, Celos, and Gobos
	Dimmers
		LED Dimmers
		Hand Squeezers
SCENE LIGHTING
	Lighting Plans
	General Principles of Scene Lighting
	Let's Look at These One by One
		Read the Script
		Confer With the Director
		Light the Scene, Not the Set
			Insist on Seeing a Full Rehearsal
			Insist on Having Lighting Stand-Ins
	What Are the Opportunities?
		The Set
		The Action
		Script Hints
	Consider Your Resources
		Lights
		Power
		The Location
		The Director's Concerns
	Knights Around A Campfire
	Lighting a Scene With Practicals
	Lighting/Grip Order
LIGHT AS STORY
	Storytelling With Light
	Metaphor
		Atmosphere
		The Power of Darkness
		Establish Character
COLOR
	Color Terminology
		Color Temperature: The Balances
		Warm and Cool
		Magenta vs. Green
		The CIE Diagram
		The Spectral Locus
		The White Point
		The Line or Purples
	Color Balance with Gels and Filters
		Conversion Gels
		Light Balancing Gels
		CTO
		CTB
	Color Correction Gels
	Dealing with Fluorescent Light
	Correcting Off-Color Lights
		HMI
		Industrial Lamps
		Camera Filtration for Industrial Sources
	Measuring Color
		Color Meters
		The Vectorscope
		Calibration Test Charts
		DSC Labs Test Charts
		The One Shot
		The X-Rite ColorChecker
	Color As a Storytelling Tool
EXPOSURE
	Exposure Theory
		What Do We Want Exposure to Do for Us?
			The Bucket
		Controlling Exposure
			Change the Bucket
	The Elements of Exposure
		Light
		F/Stops
	The Response Curve
		Underexposure
		Overexposure
		Correct Exposure
	Higher Brightness Range in the Scene
	Two Types of Exposure
		The Bottom Line
	Exposure in Shooting RAW Video
	The Tools of Exposure
		The Incident Meter
		The Reflectance Meter
	A Different World of Exposure
		Setting Exposure with the Waveform Monitor
		F/Stops on the Waveform
	Exposure Indicators in the Camera
		Zebras
		Histogram
		Traffic Lights and Goal Posts
		Goal Posts
		Traffic Lights
		False Color Exposure Display
		Red False Colors
			Comparing Red Exposure Modes
		Arri Alexa False Colors
	Strategies of Exposure
		Don't Let It Clip, but Avoid the Noise
		Texture and Detail
		The Dilemma
	Using Light Meters
		Meter the Key
		Using the Waveform Monitor
		Placing Middle Gray
		Start at the Bottom or Start at the Top
		Expose to the Right
		Zebras
		The Monitor
		Know Thyself and Know Thy Camera
ELECTRICITY & DISTRO
	Measurement of Electricity
		Potential
		Paper Amps
	Electrical Supply Systems
		Single-phase
		Three-phase
	Power Sources
		Stage Service
		Generators
	Large Generator Operation
	Guidelines for Running Small Generators
		Paralleling Small Generators
			Does Paralleling Cause Damage to Generators?
	Tie-ins
		Tie-in Safety
	Determining KVA
	Wall Plugging
	Load Calculations and Paper Amps
		Ampacity
		Color Coding
	The Neutral
	Distribution Equipment
		Tie-in Clamps
		Busbar Lugs
		Connectors
		Bull Switches
		Feeder Cable
		Wire Types
			Wire Designation Codes
	Distribution Boxes
		Lunch Boxes, Snake Bites, and Gangboxes
		Extensions (Stingers)
		Zip Extensions
	Planning a Distribution System
		Balancing the Load
	Working with DC
	Calculating Voltage Drop
	Electrical Safety
		Wet Work
		HMI Safety
		Grounding Safety
		GFCI
GRIPOLOGY
	Definitions
	Light Controls
		Reflectors
			Operating Reflectors
	Flags and Cutters
		Flag Tricks
		Nets
			Net Tricks
		Cuculoris (Cookies)
	Grids and Eggcrates
	Open Frames
	Diffusers
		Butterflies and Overheads
			Overhead Rules
		Griff
	Holding
		Grip Heads and C-Stands
			C-Stand Rules
	Highboys
	Clamps
		Studded C-Clamps
			C-Clamp Tips
		Bar Clamps
		Pipe Clamps
		Cardellini and Mafer Clamps
		Quaker Clamp
	Wall Plates, Baby Plates, and Pigeons
		2K Receivers and Turtles
		Side Arms and Offset Arms
	Other Grip Gear
		Sandbags
		Apple boxes
		Wedges
		Candle Sticks
		Studded Chain Vise Grips
SET OPERATIONS
	The DP
	The Team
		Gaffer
		Assistant Chief Lighting Technician
		Third Electric and Electricians
			Other Responsibilities
		The Key Grip
		Grips
	Other Crews
	Set Operations
		Load-In
		Staging
		The Generator
		Cabling
	The Process
		Rough-In
		Blocking
		Light
		Rehearsal
		Shooting
	Procedures
	Expendables
TECHNICAL ISSUES
	Lighting for Greenscreen and Bluescreen
		Greenscreen/Bluescreen Tips
		Lighting for Process Photography
	Flicker
		The Power Supply
		Flicker-Free HMIs
	Dimmers
		Dimmer Systems
	DMX
	Working with Strobes
		Strobe Exposure
	Lighting and Exposure for High-Speed Photography
		Exposure
		Flicker in High-Speed Photography
		Lighting with HMIs and High Speed
		Tips for Lighting High-Speed with HMIs
	Exposure for Macrophotography
		Depth-of-Field in Close-up Work
			Lighting for Extreme Close-up
	Underwater Filming
	Effects
		Rain
		Smoke
		Fire
		TV and Projector Effects
		Day-for-Night
		Moonlight Effect
		Water Effects
		Lightning
	Using the Sun
APPENDIX
	Typical Lighting Order for a Small Independent Film
	Equipment Order List for a Large Studio Film
	Order for a 2nd Unit Night Shoot—Big Budget Film
	Light Loss for Common Diffusion Types
	Effect of Diffusion on Color Temp
	Lamps and Sockets
	Lighting Expendables Order Form
	Building Your Own Hand Squeezer
	A Typical 5-Ton Truck Package
ACKNOWLEDGEMENTS
INDEX