The two images above show my attempts of lighting the scene with two stage lights from above. I placed the table in the middle and angled the lights into the centre. At this point there was two much bounce light being reflected off the white section of the wall which meant too much light was in shot. This was bad as it was with my initial plan to show the actors conversing in a blacked out room, something that would develop a problem later on.
At this point in the picture there were two 350w stage lights (par can) angled at opposite sides. The lighting looked good but the hight that the light was at meant there was a lot of extra and unwanted light being thrown around the room. To have a more controlled area I decided to scrap this a plan for key lighting and move on to a 3 point lighting system I was more familiar with.
These two shots show a device I made that was needed in order to effectively light two different objects from one and other. The table lit up was achieved by using a 650w key light just off shot to the left while a 350w and the use of light from a stage light which was angled through a gel would light the box. I was happy with the look I achieved and felt more confident in knowing a new skill that was both new and possible to my self. This affect was helpful and may be used in a future project.
Through my inspiration through films like Fear and Loathing and Naked Lunch did I find a need for this process. It is a skill that was first brought to my attention through my finding from the cinematography dvd documentary; ‘Vision of Light’. It is the process where a DP feels the need to create more texture with the use of a beam of light. This is done by a number of ways but for this it was the creation of lighting filters and blinds. The ideas is that instead of having a light source traveling in a straight journey; the blinds will disrupt the path of light making gaps and spaces between light which gives off a textured affect. As my project would be shot it a blacked out room with little or no props I knew this would be a technique I would need to turn to.
The image above shows me taking readings with the use of a light meter. I began by taking an initial reading of the light intensity by holding the reader at the center of the actors face. This will provide accurate information and give a setting for the lens to achieve a corect mid level skin tone.
Skin tone was an issue through my filming experience with this project. One of my actor has a much darker skin tone than the other and while I have been expositing to the right I am having to account for the actors colour which means including two more f stops. This is fine as a formula but when the actors are in the same shot I am having to construct methods of which both lighting set ups are lighting the actors at different intensities without destroying the shot.
After this is done I began taking a ratio count of each sides of the actors face, this is to enable me to work with the light and shadows. Corections to my lighting set up are made taking readings along the way until I am happy with how it looks.