Film Lighting

Whilst obtaining useful information from digital tutors to create moody realistic lighting I have been looking at various film noir features to get an idea of the atmosphere created by synthetic lighting. Knowing how lighting works in 3d is completely different from physical lighting. Light travels in straight lines, however, it can be refracted and diffused depending on the surfaces the light is reflected. By having a good understanding of how light works in both the virtual environment as well as real world lighting I hope to achieve some interesting results that will give Chris's film a moody atmosphere.

I looked at various films such as Leon, Casablanca, Bladerunner as well as various film noir films which depend on the use of light and shade to tell a story. Chris and I looked at many films which focused on the hitman. These films included Collateral and Leon. Not only were we interested in the story, but we were also interested in the use of lighting which created a moody atmosphere as well informing the viewer on a specific character. Leon focuses on a lonely hitman who is essentially very naive. Leon himself is caught up in a life of crime and corruption and we sense that he loathes his current lifestyle. However, killing is the only thing he knows and finds himself in a downward spiral. His life suddenly changes when he meets a girl named Matilda and ultimately becomes a sort of father figure after her family is brutally murdered.

The lighting within the film is very interesting as it often conveys the mood of the characters and the mood of the film. Leon's apartment is very dark and is only partially illuminated from the outside. The visual appearance of the apartment itself is no coincidence. Theatrical lighting is completely different from natural light. Often directors and cinematographers will use light purely as a story telling device. Leon's apartment tells you something about his character and the loneliness his line of work entails.

The apartment itself is poorly decorated and we get the idea that the Leon moves from place to place, so there is really no need to spend time on its appearance. It is interesting that the only light within the room is partially off frame and that there is a heavy shadow where the lamp shade should be. Again this is theatrical and symbolizes his dark state of mind as he begins to realize that Matilda is a threat to him.

Another Classic film Chris and I looked at was Bladerunner. The film itself is beautifully shot and the lighting used within the film is second to none in my opinion. The film is a classic film noir piece that deals with one man's struggle against seemingly overwhelming odds. What is amazing about this film is that it combines the old and the new and has a very unique feel to it although it is set in the future. Again the story focuses on a troubled soul who is clearly missing something in his life. Deckard feels trapped and alone in what seems an uphill struggle. This is essentially echoed in the appearance of his apartment as well as the lighting used which illuminates specific areas. Again the use of lighting has a huge impact on the mood of the film as well as its characters. There is a strong use of neutral colours like blues and grays in conjunction with overwhelmingly dark shadows. Venetian blinds are used extensively in the film particularly in Deckard's apartment which creates bands of light and shadow which symbolizes the characters current mental state and the fact that he is trapped in a scenario from which he finds it hard to escape. This is what we want to replicate in our short film which will hopefully add a new dimension to the story as well as the character.

I also looked at various black and white film noir films such as Casablanca, Kiss Me Deadly and M which use light to their advantage. The contrast between light and dark areas produces some very interesting but sinister compositions which drive the action taking place on screen. For example in Casablanca their is a sequence where the characters are partially obscured by shadows cast from objects off screen. This not only gives the illusion that their is a lot more going on on set but also conveys the fact the characters are trapped by forces out of their control. In Kiss Me Deadly for example the characters are often seen through angular shapes and shadows. There are some scenes in which the characters are lit from below which causes a certain amount unease as well as an ominous atmosphere.

While writing my dissertation I obtained some very interesting techniques and theories about lighting and its use in film. Light itself is very important, however, there are some cinematographers that believe that shadow and silhouettes are equally important when lighting a scene. For example Vilmos states that he prefers to shoot films in black and white because of the contrast created by the light and dark areas which make for more dramatic filmaking. He also says that he paints with shadow and silhouette. This is something to consider when lighting the interior scene by using light as a storytelling device. Anyone can place a light in a space, but positioning the light and the objects within the space to acquire a more dynamic and appealing image is the real challenge.

Digital Tutors

Today I purchased an account with Digital Tutors which is an online learning centre directly concerned with all things digital. It is one thing knowing how lighting works in the real world, however, lighting in a three dimensional program like maya is a whole different ball game. Part of the issue with lighting in Maya is knowing what tools, lights and dials to press.

In Chris's scene there is one light source in the room which is emitted from a bulb in a lamp shade. In order for this to work I need to understand the way lighting works in maya as well as understanding the rendering process which is where all the magic happens. I began by looking at a tutorial which focused primarily on translucent objects. The scene itself had a regular lamp. In the video the artist used an area light to simulate the light source as it passed through the lamp shade surface. In reality when light passes through a lamp shade colour from the lamp shade itself is reflected onto the surfaces around the room. However, this light needs to be diffused in comparison with the light being directed down towards a surface like a table for example.

The artist used some interesting techniques to replicate realistic lighting by using mental ray shaders to override shadows made by the lampshade itself. This was achieved relatively easily, however, the hard part was manipulating the light so that it would only illuminate parts of the room. The light itself needed some falloff otherwise the moody look chris wanted would be destroyed. The area light used to create the initial light source needed some linear decay which simulates the way in which light reflected gradually gets darker over distance.

Currently I am writing up a dissertation about the importance of lighting in film which has helped me to understand the principles of lighting and the way in which it is use as a storytelling device. I have also learnt that shade and shadow are equally important as light itself. Using shadow in high contrast images makes for more dramatic compositions and create the illusion of a three dimensional space within a two dimensional frame. Vilmos Zsigmond a cinematographer who lit films like close encounters as well as the deer hunter has stated that he usually paints with shade and shadow. "I consider lighting not as turning on lights, but rather as taking it away from the object that you are shooting. I light with shadows . . . . Silhouettes, shadows and light are more important than colour."

So lighting with shadow will be an important aspect within Chris's film. This will enhance the not only the genre but the story itself. It should bring to light the strong moral connotations of the film and the main characters emotional struggle. Creating an equilibrium between light and shadow will be an important aspect when selling the character and the story.

Chris's Concepts

Patience

Within the story of patience the main character is in emotional turmoil. The main Character is a hit man named Frank. His physical appearance tells us that he is fairly strong but his wrinkles suggest that his years are catching up with him. His facial expressions however paint him in a very different light. His long face and drooping eye brows tell us that he is despondent. The story itself is about a contract killer who ultimately has to decide whether or not to kill his lover or discard the contract completely. The story focuses on the moral issues felt by the main character as well as his reluctance to carry on in the criminal underworld.

You may be wondering why I am summarizing the story. It is vitally important in understanding the story and its contents before lighting the scenes, props and characters. For example harsh shadows strewn across a characters face can tell you something about his character or state of mind. Within the story of Patience there are a few props which have a key role in giving background to the character. For example a gun tell us that he is ready to take life. The boxing gloves upon the wall suggest that he was successful in the ring but now is caught in an endless downward spiral of crime and corruption. Lighting these props as well as the character appropriately will augment the story and set the tone of the film.

Understanding Film Noir itself will be key in identifying the techniques used to get the best out of the shots as well as the lighting in any given scene.

Film Noir

Film Noir is a cinematic term used to describe the Stylish Hollywood crime dramas that emerged from early German Expressionism. The Film Noir period was at its peak during the early 1940’s to the late 1950’s. The films themselves often explored the criminal underworld and explored cynical attitudes and sexual motivation. These films had a unique visual style that helped reflect the mood of the genre, typically to recreate the economic atmosphere at the time. The era is well known for its low key black and white films and borrowed heavily from German Expressionist cinematography. Film noirs use of light and shade emphasised its characters and heightened the gloomy atmosphere that was portrayed in the films. Directors made use of low-key lighting schemes to produce large amounts of contrast and dynamic shadow patterning. Venetian blinds or banisters were employed to cast obscuring shadows on actors to emphasize the characters “darker side.” Although this technique was used a great deal almost to the point were it became cliché, it was a useful device that told the audience something about a character and or scene. It was almost always used to further the plot or character development and was therefore important aspect of the genre.

The Film Noir genre is also known for its use of Dutch, and low angle shots as well as wide-angle lenses, that enhance the audiences perspective of the story. Other devices of disorientation were commonplace in early film noir. Mirrors were used to reflect actors in one or more mirrors implying that the character had multiple levels to them and were not one-dimensional. This augmented the idea that a character could have multiple personalities on a sub conscious level. This made for more dynamic and realistic characters. The lighting used in these types of films furthered this notion. Directors at the time realised the importance of believable and conflicted characters. However, these devices would not have had the same impact on the audience if it had not been for the clever use of light as well as the absence of light. Night-for-night shooting was also used to produce realistic lighting and moody scenes, as opposed to the Hollywood norm of day-for-night that was often employed during early noir production. Directors were beginning to realise the importance of lighting as a way of not only lighting a scene but also adding an element of theatre. Light and shade would highlight certain aspects of the film that would advance the story as well as its characters, which ultimately made for a more successful film.

Film noir is often considered to be a very negative and distrustful genre. Many stories associated with the genre depict characters in impossible and unsympathetic situations. The protagonists themselves struggle against the odds and are frequently in peril. The world, which surrounds these characters, is often portrayed as being overwhelmingly corrupt. Classic films in the film noir genre have been considered to be associated with an era where anxiety and alienation are prevalent in accordance with the aftermath of the Second World War.

Classical painters

Early painters and artists recognized lighting and its importance. The most famous of these artists was Rembrandt Harmenszoon van Rijn (July 15, 1606-October 4, 1669). Rembrandt was a Dutch painter and etcher. He is considered one of the greatest painters in European art history. Although he has no direct involvement in film, his paintings are hugely influential to the way in which light is depicted and how it can add character and mood to a story. Rembrandt once said that, “All is light.” His use of lighting within his paintings was extraordinary. He knew that light could give a scene or character some context. He also understood that we as humans only understand the immediate environment around us because of the way light reflects off its surfaces. This is also true within a two-dimensional space whether on screen or on canvas. In film’s emotions and actions are heavily dependent on the way in which the scene is lit.

Another very important artist was Michelangelo Merisi da Caravaggio (1571-1610). He was an Italian artist active in Rome, Naples, Malta and Sicily. His paintings boast realism and the observation of the human state. His paintings are not merely a snapshot; they explore the physical and emotional elements of the people within each scene. The reason why the images were so dramatic and theatrical was because his clever use of lighting which created different moods within his paintings. His use of chiaroscuro, the shift from light to dark with little intermediate values enhanced his images. His images are much like the first German expressionist images in the early 1900’s, which make use of high contrast to portray a specific mood or character.

These images produced by Carravagio as well as Rembrant are awesome examples of moody lighting. Although the lighting in Chris's film will be slightly different this is the sort of look we are going for. The dull oranges ad yellows used in the paintings create a foggy atmosphere. The contrast between light and dark areas make for more interesting and dynamic images as well as striking compositions.

The importance of Lighting

Lighting is without doubt one of the most important assets in filmmaking, getting this write can have a huge impact on the overall look of the film as well as the mood of the piece.

Light can also be used to highlight parts within a story. Without lighting there can be no film.

Although there are other integral parts to film such as sound and the use of camera angles light has a huge impact on the overall look of the film.

Filmmaking as a whole is an amalgamation of different elements and components all of which should be employed to enhance the story. It is the job of the director’s to transform the initial script into a workable sequence on screen. These core elements may include sound as well as camera angles, camera moves as well as colour to provoke a certain mood for example. A film is a theatrical performance and a, “form of entertainment that enacts a story by sound and a sequence of images giving the illusion of continuous movement.” However the images you see on and the story that is played out is highly dependant on the the lighting of the subjects within the scene as well as the surroundings. If there was an absence of light all that would be left is a dark black abyss. The reason why theatrical performances are so compelling is due to the fact that the images we see come alive because of the way light reflects around the scene enabling us to empathise with the characters. Film itself is two dimensional, however light gives the illusion and impression of a 3d space. I hope to delve into the world of cinematic lighting to gain a more rounded understanding of its use and the way in which light can sometimes have huge benefits to a story.

In a theatre, the audience observes the actions of the play’s protagonists and is usually accompanied by a synchronized sound track. There are many elements, which can improve the performance. However, lighting the scene and its characters is key to good filmmaking. Without light there can be no film. In order to see our characters and actions on screen light must reflect off objects or characters back into our retinas. All film is based on light and without it is almost impossible to tell a visual story. Light can dramatically change the mood of a story and it can also tell you much about a character as well as a scene itself.

Research and Developement

For this unit I will be aiming to learn the basics of lighting within a maya scene using all the lights available to create realistic lighting. I want to improve my lighting skills so that when it comes to lighting "Patience" one of the films I will be working on for the year, I will know all the

basics as well as the more professional areas to re create realistic and moody lighting.

Patience is a film noir piece so it is imperative to get the light levels right to fit the mood of the story as well as the character. There is a careful balance between light and dark that will help highlight important features in the room.