Motion picture and video lighting

Includes index.

<P>HISTORY OF LIGHTING</P><P></P><BLOCKQUOTE><P>Controllable Light</P><P>Early Film Production</P><P>Introduction of Tungsten Lighting</P><P>The Technicolor Era</P><P>HMI, Xenon, Fluorescent, and LED Sources</P><BLOCKQUOTE><P>Kino Flo </P><P>LEDs</P></BLOCKQUOTE></BLOCKQUOTE><P> </P><P></P><P>LIGHTING SOURCES</P><P></P><BLOCKQUOTE><P>Types of Lights</P><P>Fresnels</P><P>LEDs</P><BLOCKQUOTE><P>Efficiency</P><P>LED Panels</P><P>LED Fresnels</P><P>Remote Phosphor LEDs</P></BLOCKQUOTE><P>Tungsten Fresnels</P><BLOCKQUOTE><P> The 10K and 20K/24K</P><P> The 5K</P><P> Juniors</P><P> 1K</P><P> 650, Betweenie, and InBetweenie</P><P> Inkie</P></BLOCKQUOTE><P>HMI Units</P><BLOCKQUOTE><P>12K and 18K</P><P>6K and 8K</P><P>2.5K and 4K</P><P>Smaller HMIs</P><P>When an HMI Fails to Fire</P><BLOCKQUOTE><P>Care and Feeding of HMIs</P></BLOCKQUOTE></BLOCKQUOTE><P>Xenons</P><P>Open Face Lights</P><BLOCKQUOTE><P>Skypan</P><P>2K Open Face</P><P>1000/600/650 Watt Open Face</P><P>Par 64 </P><P>PAR Groups</P><BLOCKQUOTE><P>Dino, Moleeno, and Wendy</P><P>Maxi-Brute</P><P>FAYs</P></BLOCKQUOTE></BLOCKQUOTE></BLOCKQUOTE><BLOCKQUOTE><P>HMI PARs</P><P>Soft Lights</P><P> Space Lights </P><P>Fluorescent Rigs</P><BLOCKQUOTE><P>Color Correct Fluorescent Units</P><P>Color Correct Bulbs</P></BLOCKQUOTE><P>Cycs, Strips, Nooks, and Broads</P><P>Plasma Lights</P><P>Other Types of Sources</P><BLOCKQUOTE><P>Chinese Lanterns</P><P>Lekos </P><P>Crane Mounted Lights</P><P>Jokers</P><P>Dedolights</P><P>Balloon Lights</P><P>Barger Lights</P></BLOCKQUOTE></BLOCKQUOTE><P> </P><P></P><P>LIGHTING BASICS</P><P></P><BLOCKQUOTE><P>The Fundamentals of Lighting</P><BLOCKQUOTE><P>The [Conceptual] Tools of Lighting</P><BLOCKQUOTE><P>The Attributes of Light</P></BLOCKQUOTE></BLOCKQUOTE><P>What are the Goals of Good Lighting?</P><BLOCKQUOTE><P>Full Range of Tones</P><P>Shape</P><P>Separation</P><P>Depth</P><P>Texture</P><P>Mood and Tone</P></BLOCKQUOTE><P>Exposure and Lighting</P><P>Hard vs. Soft</P><P>Color Control and Color Balance</P><P>Some Lighting Terminology</P><P>Working With Hard Light And Soft Light</P></BLOCKQUOTE><BLOCKQUOTE><BLOCKQUOTE><P>Hard Light</P><P>Soft Light</P><P>Direction</P></BLOCKQUOTE><P>Avoiding Flat Front Lighting</P><BLOCKQUOTE><P>Light from the Upstage Side</P></BLOCKQUOTE><P>Backlight and Kicker</P><P>Intensity</P><P>Adding Texture in Lighting</P><P>Color</P><P>Lighting Techniques</P><BLOCKQUOTE><P>Classical Hard Light</P><P>Ambient</P><P>Bringing it Through the Windows</P><P>Motivated Lighting And Practicals</P><BLOCKQUOTE><P>Motivated Light</P><P>Lighting with Practicals</P></BLOCKQUOTE></BLOCKQUOTE></BLOCKQUOTE><BLOCKQUOTE><BLOCKQUOTE><P>Available</P></BLOCKQUOTE><P>Basic Principles of Lighting</P><BLOCKQUOTE><P>Back Cross Keys</P><P>Ambient Plus Accents</P><P>Lighting Through the Windows</P><P>Available Light Windows</P><P>Day Exteriors</P><P>Open Shade and Garage Door Light</P><P>Sun As Backlight</P><P>Magic Hour</P></BLOCKQUOTE></BLOCKQUOTE><P> </P><P></P><P>CONTROLLING LIGHT</P><P></P><BLOCKQUOTE><P>Hard Light and Soft Light</P><BLOCKQUOTE><P>Fill for Day Exteriors</P><P>Silks and Diffusion</P></BLOCKQUOTE><P>Scrims and Barndoors</P><P>Flags, Solids, and Nets</P><P>Chimeras and Snoots</P><BLOCKQUOTE><P>Softboxes</P><P>Eggcrates</P></BLOCKQUOTE><P>The Window Problem</P><BLOCKQUOTE><P> ND For Windows</P></BLOCKQUOTE><P>Cookies, Celos, and Gobos</P><P>Dimmers</P><BLOCKQUOTE><P>LED Dimmers</P><P>Hand Squeezers</P></BLOCKQUOTE></BLOCKQUOTE><P> </P><P>SCENE LIGHTING</P><BLOCKQUOTE><P>Lighting Plans</P><P>General Principals of Scene Lighting</P><P>Let's Look at These One by One</P><BLOCKQUOTE><P>Read the Script</P><P>Confer With the Director</P><P>Light the Scene, Not the Set</P><BLOCKQUOTE><P>Insist on Seeing a Full Rehearsal</P><P>Insist on Having Lighting Stand-Ins</P></BLOCKQUOTE></BLOCKQUOTE><P>What Are the Opportunities?</P><BLOCKQUOTE><P>The Set</P><P>The Action</P><P>Script Hints</P></BLOCKQUOTE><P>Consider Your Resources</P><BLOCKQUOTE><P>Lights</P><P>Power</P><P>The Location</P><P>The Director's Concerns</P><P>The Plan</P></BLOCKQUOTE><P>Lighting a Scene With Practicals</P><P>Lighting/Grip Order</P></BLOCKQUOTE><P> </P><P></P><P>LIGHT AS STORY</P><P></P><BLOCKQUOTE><P>Storytelling With Light</P><P>Metaphor</P><BLOCKQUOTE><P>Atmosphere</P><P>The Power of Darkness</P><P>Establish Character</P></BLOCKQUOTE></BLOCKQUOTE><P> </P><P></P><P>COLOR</P><P></P><BLOCKQUOTE><P>Color Terminology</P><BLOCKQUOTE><P>Color Temperature: The Balances</P><P>Warm and Cool</P><P>Magenta vs. Green</P><P>The CIE Diagram</P><P>The Spectral Locus</P><P>The White Point</P><P>The Line of Purples</P></BLOCKQUOTE><P>Color Balance with Gels and Filters</P><BLOCKQUOTE><P>Conversion Gels</P><P>Light Balancing Gels</P><P>CTO</P><P>CTB</P></BLOCKQUOTE><P>Color Correction Gels</P><P>Dealing with Fluorescent Light</P><P>Correcting Off-Color Lights</P><BLOCKQUOTE><P>HMI</P><P>Industrial Lamps</P><P>Camera Filtration for Industrial Sources</P></BLOC

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 FacePAR 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…