Not many people know this, but I started out in technical theatre and quickly worked my way up to lighting designer/master electrician. I was working in professional theatres around DC straight out of high school because our high school department was so rigorous (and ambitious and awesome). Suffice to say, I ADORE lighting, but it was a challenge for me to re-learn it for film/television. Learning lighting for the naked eye is different from lighting as it is interpreted by the lens.
Not only is the "frame" for the screen vastly different than that for the stage, but there is also a cinematic "language" that is just as dynamic and powerful as camera language. So, when I found this little gem about storytelling using lighting? You had me at IndyMogul LOL!
What are your big takeaways? Have you been able to flex any of these storytelling techniques in your projects? If so, I'd love to hear more about your process below!
4 people like this
Lighting is everything when it comes to a scene. I love to start with an empty space, no lights on, and check out practical light first, then start adding from there. Subtle is the way to go. Check out Rob Ellis on YouTube! He does some amazing work stuff!
Thank you for sharing. It was interesting to see how they approached those scenes.
Karen, which do you like more? Theater lighting or lighting for film? Would you go from time to time to theater lighting? Or you wish to stay only with film, because it's more fascinating (or for some other reason)...
1 person likes this
Florin Şumălan Theatre is a great starter kit for film for many reasons, including lighting. Three-point lighting is employed still, but you don't have to worry about which way the audience is facing - it's very clear, whereas a camera setup can change (and frequently does). We learn and employ all the basics of quality of light (high key, low key, high and low contrast, softness/sharpness, etc.). We employ overheads to design the lighting hang (which more film sets should do). We even use color gels, diffusion, and gobos (I think they call them "cookies" in film). Scrim lighting is a fantastic practical effect using nothing but essentially a white sheet and directional lighting. This is used directly over the light in film and photography, but it can be an integral part of leading the eye from one space to another for theatre set design.
The big difference for film is often time and collaboration - you don't have as much time to set up your lighting and make it perfect, plus you have more factors to check with before rolling cameras. Check the color from the art department, check the framing and intensity with the camera department, and keep it consistent from one shot to the other with the script supervisor. Although, lighting for film is hardest with wide shots. If you go super close, you can light with just about anything so long as it does the job. In that way, film is easier. But generally, I find theatre lighting to be foundational and those who are fast at it are best suited to the film industry.
Just as people say to read to get ideas on how to write screenplays, I would say the same for filmmakers about going to the theatre - you will get some great inspiration there!
Karen "Kay" Ross, here is an interview with cinematographer Vittorio Storaro, where he says some interesting things from his life, regarding this subject we were talking about, if you wish to listen.
I copied the video URL at current time, but if it doesn't start at that time, it's at 53:37:
https://youtu.be/-chfLB8kmvU?t=3217
1 person likes this
We talked once, Karen, about using The Bard in my work. So my latest, a comedy called GHOST TOWN, NM, has three references (maybe I should use the word "stealings") from him. Won plenty of contests too!
That's awesome, congrats, Lynn H. Elliott!
Here's a short video about it. https://vimeo.com/manage/videos/704318663