Category: Studio Lights Education

Real shot

The photographer (photographer) set up the camera position and set up the light (in the location and real scene shooting, but also to wait for the required light position), the director thought that all aspects have met the requirements, and ordered the official start of shooting.

1. grab a shot

One of the methods of interviewing photography (elephant);

A method of shooting feature films under special circumstances. In order to grab time, to avoid changes in seasons and climate, or to capture some sincere and emotional performances that are very rare for actors in time, or to use the real scene, the method of shooting must be used. Rush shooting requires photographers (elephant) to be proficient in the use of photography (elephant) machines and make full use of modeling expression methods, and have the ability to react quickly and act decisively.

2. Candid photos

Use pre-set shelters or hidden places to shoot without being aware of the subject. News documentary photographers often use hidden places to photograph pedestrians on the street and various scenes of social life. Candid photography is also often used to photograph the lives of birds and beasts. The sneak shot method is to achieve the effect of natural expression, free movement and real scene of the subject.

After the filming of the film and television textbooks was filmed, the director found that some pictures were not ideal or lacked necessary shots when editing (editing), and reorganized to shoot in the prescribed venue. These work habits are called make-ups. The phenomenon of make-up shots occurs from time to time, so some important sets of the set should not be demolished immediately. For news documentaries, in order to ensure the real effect of the film, the director should make full preparations in advance to minimize re-shooting.

Filming angle

1. Flat shot

A shooting angle where the camera and the subject are on the same horizontal line. Flat shots can generally be divided into three types: front, side, and inclined.

For frontal shooting, the optical axis of the lens is consistent with the object’s eye level (or center point), which constitutes frontal shooting. The advantage of the front-facing lens is that the picture looks dignified and the composition has symmetrical beauty. It is used to photograph magnificent buildings, giving people the impression of a full frontal view; photographing people can more truly reflect the positive image of the people. The disadvantage is: poor stereo perception, so scene scheduling is often used to increase the depth of the picture.

Side shooting, shooting from a direction at right angles to the subject’s line of sight, is called side shooting. Side shots are divided into left and right sides. The feature of side shots is conducive to outline the side profile of the object.

Oblique shooting, the shooting angle between the front and the side is oblique shooting. The oblique shot can simultaneously express the two sides of the object in one frame, giving a vivid three-dimensional effect. Oblique shooting is the most common shooting angle in film and television textbooks.

2. Upward shot

The camera (camera) shoots from a low place upwards. Upward shooting is suitable for shooting high places, which can make the scenery look taller and majestic. Use it to represent the line of sight of film and television characters, and sometimes it can represent the high and low positions between objects. Due to the perspective relationship, the upward shooting reduces the horizontal lines in the picture, and the contrast between the objects in the foreground and the background changes in height, so that the objects in the foreground are highlighted and exaggerated, thus obtaining a special artistic effect. The upside-down lens is often used in film and television textbooks to express people’s praise of heroes or awe of a certain object.

The angle of upside-down shot is approximately vertical, which is called big upside-down. Generally, it expresses the person’s point of view to express his mental state such as dizziness and fainting.

3. Top view

Contrary to looking up, the camera (camera) shoots from a high place downwards, giving people the feeling of looking down. The overhead lens has a wide field of view and is used to express vast scenes. It has its own uniqueness.

Shooting from a high angle, the horizontal line in the picture rises, the surrounding environment is fully expressed, and the object in the foreground is projected on the background, and people feel that it is pressed close to the ground, becoming short and depressed. It is very common in film and television to show the abominable insignificance of the villain or show the despicable behavior of the character with the overhead lens.

4. Top shot

The shooting direction of the camera is perpendicular to the ground. Shooting certain acrobatics or singing and dancing performances with the top corner is unique. It can take some expressive shapes from angles that are generally inaccessible to people, and take them into delicately composed pictures. The function of top photography is that it changes the normal state of the subject, turning the spatial position of the person and the environment into a flat pattern with clear lines, so that the picture has a certain taste and beauty. The top camera angle is rare in movies and TV.

5. Reverse

When the film in a movie camera passes through the film gate, it runs in the opposite direction for shooting. The movement process of the object captured by this method is projected in the positive direction, and the effect opposite to the actual movement direction can be obtained. Reverse shooting is often used to shoot thrilling scenes. In TV shooting, the reverse shooting method is also commonly used.

6. Side-reverse shooting

Shooting from the side and back of the subject is called side-to-side shooting. In this way of taking pictures, the characters almost become the back figure, and the faces are less presented, which can produce a wonderful feeling.

Photography method

1. Stop motion photography

Also known as frame-by-frame photography. It is a photography method that uses a mechanical or electronic control device to start a movie camera, and only captures one frame at a time. Using this method, pictures or still life with gradual changes in form can be displayed on the screen, producing a lifelike activity effect. Animations, puppets, paper-cutting movies, or active subtitles in TV movies, etc., are all filmed in this way.

2. Downgrade photography

During shooting, the number of frames passed by the film gate per second is less than the standard number. “24 frames per second, cherry blossoms?? Pang Chengpi only refers to the constant speed of 24 frames per second. In this way, the activities on the screen are faster than the actual activities. There is a fast motion phenomenon.

3. Quick photography

Also known as upgraded photography. That is, the photographic method in film photography at a higher than normal (24 frames/sec) photographing speed. Generally, the shooting frequency of 48, 64, 72, 96… or even 240 frames per second can be used according to the needs. The movement process of the scene captured by this method can be projected at a normal frequency (24 frames/sec) to get a visual effect that is slower than the actual movement. It is generally used to capture certain stunt models or make certain actions (such as high jumps and running races) appear on the screen in a slow process for decomposition and observation. In scientific research, capturing an instantaneous process at a speed of 1,000 frames per second or even more than ten thousand frames per second is called high-speed photography to distinguish it from rapid photography.

4. Timed photography

One of the special photography methods, also known as time-lapse photography. It is a method of using a time-delay automatic controller to perform stop-frame photography at a predetermined time interval. In film and television, we often see blooming flowers, which are blooming in an instant. According to the natural laws and the length of the lens, the time interval for each frame is pre-defined, and the automatic controller is used to frame the scene. It was made by shooting. When it is shown continuously, the process of blooming flowers slowly appears, which can be reproduced on the screen in a short period of time. This kind of lens can be used in science and education films to clarify the process of plant growth scientifically and truthfully; when used in feature films, it is often used to express the joyful feelings of the characters or to indicate the successful completion of the plot development.

5. Painting support photography

That is, a method of taking pictures by masking part of the field of view of the camera (image) by using paintings such as masks and Musk. Some special pictures can be obtained by using painting support photography.

6. Variable speed photography

It refers to photography that changes the normal speed (24 frames per second). Upgrading photography and downgrading photography are both variable speed photography. Its purpose is to show some special effects that cannot be achieved at normal speed.

7. Interlude photography

That is, a cut-out baffle is inserted in front of the camera film door to shoot the scene. For example, in some military feature films, the lens seen through the telescope was taken by inserting an insert in front of the film door by digging out two connected circular holes.

8. Photomicrography

Photography methods often used in teaching and technology films. That is to connect a microscope and a photographing device to record the image of the object observed through the microscope on the photosensitive film to obtain the lens image. It is a technical means to reveal the microscopic world invisible to the naked eye. Photomicrography can record activities such as bacterial reproduction and growth, so that people can truly understand various microscopic phenomena.

9. Scenery photography

That is, according to the principle of painting perspective, pictures, photos or models are placed in front of the camera to replace part of the real scene or scenery to achieve the effect of replacing the big with the small and the fake with the real effect. The shooting method is simple and effective, and it is used more in film and television. It is also known as “the method of connecting scenery.”

10. Close-up photography

Also called “macro photography”. A type of photography that obtains images and objects that are as large as or magnified several times. According to the principle of the conjugate focus of the lens, the object distance of photography is shortened and the image distance is lengthened, so that the camera lens is close to the real object, and the image that is as large as the real object or magnified several times can be shot.

11. Aerial photography

In film and television textbooks, aerial photography is often used to explain the general geography and atmosphere of a place. Not only the photography angle is high, but also the translation effect can be produced, so that the audience has a clear view of the scenery, which is very artistic.

Aerial photography is generally selected in the morning or afternoon, because the scene on the ground in the morning or afternoon is clearer, with sufficient illumination, and it is easy to receive a better tone effect. If there is fog on the ground, use an appropriate filter when shooting to enhance the contrast of the picture.

Attention should be paid to aerial photography:

Discuss the flight altitude, speed and route with the pilot in advance;

Don’t get too close to the shooting target. When shooting, choose a high-power focal length lens to adjust the size of the picture, and you can get better results.

12. Model photography

One of the special effects photography (elephant) methods. Use scaled-down or enlarged models instead of real scenes or scenes to capture scenes of disasters such as volcanic eruptions, flooding, earthquake damage, warship explosions, car collisions, plane crashes and other war scenes. Model photography is widely used in film and television, which can obtain film and television scenes that are difficult to shoot on the spot, achieve the effect of fake and real, and can ensure the safety of photography and save expenses.

Composition

2. Sports composition

The main manifestation of the concept of film and television screens. It consists of two factors: one is the movement of the subject, and the other is the movement of the camera (camera). Sometimes the two forms a comprehensive movement at the same time. Movement will change the composition of the picture continuously, and the photographer (image) must organize the picture according to the characteristics of the change. In the pictures with and without people, the principles of photographic (image) motion composition are obviously different. For pictures without characters, when introducing the environment, according to the object to be expressed, the main object (or the object that can express the environmental characteristics) should be found as the basis for composition, regardless of the rise or fall. When it is necessary to highlight an object, the object should be used as the center of the composition structure; for pictures with characters, the characters should be used as the basis for the composition of the picture. The movement of the camera (image) often accompanies the performance of the characters for complex scene scheduling, or follows the movement of the characters, or shifts the focus of the drama. The composition must be changed according to the content of the plot or the characteristics of the scene by grasping the main factors. In sports composition, always pay attention to the changes in factors such as direction, speed, and rhythm.

3. Static composition

That is, when shooting static objects with a fixed camera position, the composition and composition are basically unchanged. The static composition is mostly in the form of a single composition, but when the picture has multiple meanings and information due to changes in light and color, a multi-composition picture can also be formed. In the satellite TV teaching materials, the pictures of the teacher’s lecture are mostly static pictures.

4. Dynamic composition

That is, the subject or the camera (camera) is in motion, causing continuous or intermittent changes in the composition of the picture. Dynamic composition is a unique composition form of film and television pictures. It is generally in the form of multiple composition, sometimes in the form of single composition. For example, when a camera (image) moves in a space with no background change and no scene change, it is a single composition form.

In dynamic composition processing, attention should be paid to the connection between rhythm and dynamic modeling factors in the upper and lower shots.

Another meaning of dynamic composition is that when comparing film and television with painting and photography, it generally refers to the composition of film and television pictures.

5. Landscape composition

Scenes without characters in the film and television textbooks. Therefore it is called “empty lens”. It follows the general principles of composition, and chooses the appropriate light conditions and weather conditions to shoot to create the effects of the images required by the content of the film and television teaching materials. It is often used to describe the environment, express the passage of time, seasonal changes, character emotions, create specific atmospheres and hints, metaphors, etc., and play a role in supporting the content of the plot. Scenery composition is mostly scattered in various paragraphs of film and television textbooks, and is inherently related to the specific plot content. When handling, attention should be paid to the penetration of the plot content of the upper and lower scenes and the relationship between the various factors. In film and television photography (image), photographers must pay special attention to the use of various modeling expression methods to render the atmosphere and mood of the landscape composition.

6. Multiple composition

The compositional form in which the structure of the picture changes continuously or intermittently is one of the important characteristics that distinguish film and television from static plastic arts such as painting and photography. Due to the movement of the camera and the subject, the composition structure of the film and television screens can constantly change to produce multiple composition forms. The scheduling of film and television scenes is complex and changeable. The light and dark, the focus is virtual and real, and the foreground and background changes can all form multiple composition pictures. The proportion of such composition in modern film and television is increasing day by day. It does not require external assembly. The internal montage form of a lens can explain multiple meanings and convey multiple information, so multiple composition enhances the expressiveness of photographic art.

7. Single composition

Only one combination of composition is represented in a lens. Single composition is more used in silent film period. With the development of film, especially television art, the scheduling of film and television scenes has become more and more complicated, sports photography has been widely used, and the proportion of single composition in a film and television is decreasing. However, directors and photographers (photographers) start from the content, in order to express a certain mood and atmosphere, and pursue a certain style, they still use single composition images in some film and television films, especially in certain film and television teaching materials. The picture application is even more. Single composition is mostly static composition, but sometimes the camera (image) moves along with the action of the subject, and there will be a dynamic composition form.

8. Match the composition

Use the rules of vision to create visual continuity and maintain the composition of the point of interest on the screen. When students watch the film and television textbooks, they always look for points of interest on the silver (screen) screen and focus their attention on this point. The points of interest that can attract students’ attention are generally the objects that the optical lens focuses on, the moving objects, the objects where the lines gather, the bright objects in the dark-tone picture or the dark objects in the bright-tone picture, and the objects that stand out in color contrast. When dealing with a series of lens composition, photographers (photographers) should consider the law of students’ visual attention activities and pay attention to the processing of points of interest. In order to achieve visual continuity, the position of the points of interest on consecutive pictures should not be too jumpy.

9. Lens composition

It means that film and television directors and photographers (photographers) arrange and deal with the relationship and position of characters on the screen in order to express the thematic ideas and aesthetic effects of film and television teaching materials, and combine individual or partial images into an artistic whole. The composition requires a comprehensive concept.

Camera angle and camera action

1. Camera angle

The “angle” mentioned here, in a narrow sense, refers to where the camera (photo) is placed to shoot. In fact, the camera angle in film and television includes three factors: shooting angle, shooting distance, and shooting direction, which are related to each other. The angle of the lens cannot be understood as merely a means of taking beautiful pictures. It must not only complete the task of modeling, but also complete the task of engraving. Combining the content of specific film and television textbooks and properly using the camera angle will make the lens structure of the film and television textbooks refined and novel, so that the character activities, occurrences and development of events in the film and television textbooks have a great field of expression in time and space. Different shooting angles will produce different artistic effects.

2. Camera action

That is, the key point of film and television performance is different from stage performance. It refers to the expressive power produced by the connection of lenses processed in different ways-the so-called montage effect. Movies and television use it to coordinate the physical movements of the characters to promote the development of the plot.

Foreground, Back view and background

1. Prospects

People or scenery in front of the subject or *closer to the lens. The foreground can sometimes be placed on the upper and lower edges of the screen, or on the left and right edges of the screen, or even all over the screen. It has the function of setting off the main body or directly helping to express the theme, and can enhance the spatial depth of the picture, balance and beautify the picture. It can enhance the sense of rhythm in sports photography (image). When using prospects, you should work closely with the content as much as possible. The foreground must be beautiful and rich in decorative colors, but it must not destroy the unity of the picture or confuse the primary and secondary performance objects. Due to the changes in the scene scheduling and the direction of the camera positions, the foreground may also change its status accordingly and become the background.

2. Back view

Corresponding to the foreground, it is the person or scenery behind the subject. Under the condition of foreground, the background scene can sometimes be the subject; it can also be the companion, but most of it is a component of the environment. It can enrich the image of the picture and reveal the content; it can make the picture produce a multi-layered scene’s modeling effect and enhance the sense of spatial depth. The background in the picture is the most obvious when shooting from a downward angle. The background scene is also called the background under certain conditions. Due to the multi-directional changes in scene scheduling and camera positions, the background scene may also change its status accordingly and become the foreground.

3. Background

The scene behind the subject in the picture. The background includes figures in the background and distant scenes, buildings, mountains, earth, and sky. It can also be just a substrate for figures and still life, just a wall, a blackboard, a table or a cloth curtain. In life scenes, the background can express the time and space environment in which the characters and events are located, creating various atmospheres and sentiments in the picture, and helping to explain the content. In the film and television picture, the subject and the background are the relationship between the picture and the bottom, so as to form a contrast with each other. There are dynamic backgrounds and static backgrounds; there are various backgrounds that are drawn, illuminated by slides, constructed, and synthesized by special effects. It can be summarized into two types: the imaged background and the nonimaged background. The imagery background should pay attention to the selection of typical environment, determine the appropriate scene range and the treatment of shades and tones; the imageless background can have shaded light and dark parts, area size, and changes in light and shadow to enhance the atmosphere, and can also be used for decorative processing. The background should be concise.

Raising and Decline

1. Rise

The scene where the motion shot begins. The composition is required to be exquisite and have an appropriate length. Generally, scenes with performances should enable the audience to see the actions of the characters clearly, and scenes without performances should enable the audience to see the scenery clearly. The specific length can be determined according to the plot content or creative intentions. It should be natural and smooth when changing from a fixed screen to a moving screen.

2. Decline

The end of the motion scene. It is required to be stable and natural when changing from a mobile to a fixed picture, and it is especially important to be accurate, that is, it can stop the picture properly according to the pre-designed scene range or the main subject position. The scene of a performance should not be stopped too early or too late according to the actions of the characters. When the scene is stopped, there must be an appropriate length to make the performance come to an end. The composition of the frame should be accurate, but under special conditions, when the motion shots are connected, the picture can also be kept stable, and the connection method of moving and moving is adopted.

(To Be Continued)

Proportion of film shooting

Shooting ratio is the ratio of the length of the film used during shooting to the length of the film actually being screened. For example, when shooting 50,000 feet of film, but only using 10,000 feet for screening, it is the shooting ratio of 5:1.

The total size of the film used to shoot a film is often several times the size of the finished product. After the total number of feet is compared with the number of finished products, a ratio is generated. No matter how well prepared the film is, there will still be many unpredictable circumstances that increase the rate of film loss.

Photography

Photography has two meanings:

One refers to the film crew. The film crew is the embodiment of the plastic art of a film. A movie, the culmination of the work of all the creative staff, is shot by the photographers one shot at a time. He “creation” with the director, that is to say, as a photographer, his duty is to use photography methods and techniques to realize the director’s creative intentions and artistic ideas under the guidance of the director’s creative thoughts.

The second is the process of capturing scene images with a movie camera. It usually involves three steps:

1. Expose the shape of the scene on the photosensitive film through the lens to form a latent image,

2. The exposed photosensitive film is subjected to chemical treatments such as development and fixing to obtain a negative image whose brightness is opposite to the scene or the color and the scene complement each other, that is, the negative image,

3. Expose another photosensitive film through the negative film, and then undergo chemical processing such as development and fixation to obtain a positive image with the same brightness or color as the subject, that is, a transparent positive film. There are also photographs using reversal photosensitive films, which are directly obtained through chemical treatments such as development and fixation to obtain transparent positive films.

Camera

Camera has two meanings:

One refers to the camera crew. The cameraman is the embodiment of the plastic art of a TV teaching material. Its responsibility is to use the means and techniques of photography to realize the director’s creative intentions and artistic ideas under the guidance of the director’s creative thoughts.

In addition, it refers to the process of capturing images of a scene with a TV camera.

Video

Video has two meanings:

Refers to the person who uses the video recorder.

The process of recording scene images captured by a TV camera on a video tape with a video recorder.

Exposure

The process in which photosensitive materials are exposed to light. The amount of exposure depends on the illuminance and exposure time of the photosensitive material, namely: exposure = illuminance × time. The illuminance can be adjusted by the size of the aperture, and the exposure time can be controlled by the speed of the shutter (iridium). The film in a movie camera runs continuously at a constant speed. Generally, in addition to the use of the aperture, sometimes the opening angle of the shutter, which is commonly known as the B squatting shadow, installed inside the fuselage, is used to adjust the exposure.

1. Exposure point

The scene brightness control point that obtains the intermediate density on the film negative is also the reference point for the selection of the exposure combination. In film production, its choice is restricted by the following interrelationships: the scene brightness of the intermediate reflectance produces the intermediate density of the negative film, and the best visual effect on the screen is obtained through the standard light number printing. In actual shooting, the specific lighting conditions of the subject are the main basis for selecting the exposure point and measuring the various parameters of the exposure.

2. Underexposure and overexposure

The light of the shooting scene is relatively dim, and the picture is dim and unclear when the aperture is not adjusted when shooting, which is called “underexposure”, and vice versa, it is called “overexposure”. Underexposure and overexposure are caused by photography errors, but sometimes in order to obtain special artistic effects, underexposure or overexposure is deliberately made. When the two images are handed over, using the special technique of underexposure or overexposure can produce unexpected artistic effects.

3. Exposure counter-effects

Refers to the inverse effect of continuing to expose after increasing the exposure, which reduces the density.

4. Dark part exposure

Align the exposure point of the dark part of the light meter with the lowest measurement for exposure, which is called the dark part exposure. Dark part exposure makes the dark part distinct, and the remaining parts are outside the effective light range of the film, which will inevitably be overexposed, especially the brightest part of the picture is whitish and hairy. This method is suitable for pictures such as photographic tone and soft tone.

5. Bright part exposure

To measure the scene, select the highest brightness in the light domain, and use the light meter’s bright part exposure point to aim at the highest brightness for exposure, which is called bright part exposure. With this method, only the stepped part of the bright part in the selected light range can be photographed, and the other fading parts are outside the effective light range on the film, which is inevitably underexposed and lacks gradation. The high-brightness parts of the picture are distinct, while the dark parts become shadows or silhouettes. This method is suitable for shooting “dark tuning” and “hard tuning” pictures.

Photosensitive

1. Sensitivity

Indicates the numerical value of the speed of light-sensing. Under the prescribed developing conditions, measure the amount of exposure required for the photosensitive material to reach a certain density value, namely: sensitivity = constant. There are many international standards for the measurement of sensitivity, such as my country’s Interim Standard (GB), American National Enterprise Standard (ASA) and so on.

2. Measuring method of sensitivity

Based on the relationship between exposure and density, methods to test the performance of photosensitive materials and control the conditions of photography and printing. The photosensitive material is exposed in a sensitizer in a stepwise and gradual manner. After development, a specific curve of the corresponding relationship between the exposure and the density value can be obtained, and then the sensitivity (exposure index) and gamma of the photosensitive material can be measured. Expressed by r), tolerance (brightness tolerance) and other characteristic indicators. The optical wedges are developed at different times, and a r=f(t) function curve is drawn according to the corresponding relationship between the gamma and the developing time, which serves as the basis for the processing conditions in the control.

Clarity, brightness and visibility

1. Clarity

Also known as the “image world”, the imaging lens of a photographic lens has the ability to express clarity on fine textures. The reflected light spot of the object is condensed into a focal point (actually a dispersion circle) through the lens, and its size can determine the sharpness of the lens. If the dispersion circle is large, the image boundary of the lens must be soft, and the fine texture cannot be displayed; if all the dispersion circles are very small, and the composed image can distinguish the fine texture, the image boundary of the lens can be said to be good. This is optical clarity. In addition, the low resolution of the photosensitive film, overexposure, excessive developer properties and improper development processing methods, etc., will affect the clarity of the image, which belongs to the definition of photography.

2. Brightness

Photography terminology. The degree of visual brightness produced by light. Brightness is different from brightness. It is a subjective feeling and a psychological impression that cannot be directly measured.

3. Visibility

Usually refers to the maximum distance an object can be seen by normal eyesight. This refers to the degree of clarity of the film picture (projected on the screen) at a certain distance, which is seen by normal eyesight, so it is also called “brightness”. The visibility is restricted by many factors, such as the resolution of the camera, the weather, and the light when shooting.

Camera book and photography explanation

1. Photography table book

Also called “Photographic Design”. The specific shooting plan formulated to reflect the creative intention of photography. The camera book includes the branch design, special effects and specific measures. The photographer (photographer) must study each lens, from the shooting angle to the lighting, from the shooting time to the atmosphere, from the color to the optical lens and optical accessories, from the shooting method to the technical measures, all must be carefully considered. The photography table is also the most specific and detailed shooting plan of the photographer (photographer).

2. Photography explanation

The working terms of cinematographers and TV cameramen before shooting. After accepting the shooting task, the photographer (photographer) thoroughly analyzed the film and television manuscript on the basis of listening to the director’s opinions, and then explained his understanding of the manuscript to the film crew and his assumptions and requirements for the main scenes of the film and television teaching materials. Due to the different creations of photographers (photographers), the ways of expressing photographic ideas are also different, some are expressed in words, and some are expressed in words and sketches. The photographer (photographer) must make a photographic explanation before the film and television teaching materials start shooting, and communicate with other creative departments to unify their intentions so that the photographic concept can be realized.

Shooting sequence table and subjects

1. Shooting sequence table

Arrange the manuscripts of the shots according to the convenience of shooting, not in the order of the last screening. The shooting order of the scenes, the location is often determined by the season. Sometimes the order of shooting is adjusted because the actors accept two or more film and television textbook tasks at the same time. In the same scene, the shooting sequence of the lens mainly considers the lens of the same shooting direction as a unit, and the panoramic shot should be taken first, and then the medium and close shots should be shot. Arranging the shooting order reasonably can save the time of lighting, setting up and arranging props and furnishings, thereby improving work efficiency.

2. Subject

Refers to the scene represented in the lens picture. Under normal circumstances, these scenes should be within the focal range of the lens, and the out-of-focus scene should not belong to the subject (even if it is also in the frame). But sometimes in order to obtain a certain special effect, the photographer deliberately turns the subject into a virtual focus. Translate the subject into “object” abroad.

Composition

Originally a term of “plastic art”, it was later often used by film and television textbook producers. This mostly refers to the photographic (image) composition of the film and television teaching materials. Photography (image) composition runs through the entire process of conception and reproduction in the creation of film and television teaching materials. In order to express the main ideas and aesthetics of the work, the director of the film and television teaching materials and the photographer (image) engineer arrange and deal with the relationship and position of the characters in a certain space, and combine individual or partial images into an artistic whole. The composition requires a global concept, highlighting the main body, concise picture, vivid image, and combination of tone and theme.

1. Photography composition

In a broad sense, the composition of photography (image) runs through the entire process of conception and reproduction of photography (image) creation. In a narrow sense, it refers to the layout and structure of the photographic (image) picture. Based on real life, and with expression methods that are more expressive and artistically appealing than real life, the objective objects are organically organized and arranged in the picture, so that the thoughts can be fully expressed.

1. The wider the light source, the softer the light. Conversely, the narrower the light source, the harder the light.

A wide light source can weaken shadows, reduce contrast, and suppress texture, while a narrower light source has the opposite effect. This is because the wider the light source, the more the direction of the light on the object, which will increase the lighting in the scene and reduce the shadows.

Tips: If the main body of the portrait is arranged by a large and bright window that is not exposed to direct sunlight, the window can act as a soft box and no special equipment for the studio is needed.

2. The closer the light source, the softer the light

Conversely, the farther the light source is, the harder the light. This is because when the light source is closer to the subject, the relative larger, that is, the wider. And when the light source is farther away from the subject, the relative smaller, that is, narrower.

Take the sun as an example. The diameter of the sun is 109 times that of the earth. It is a very wide light source! But the sun is 93 million miles (about 150 million kilometers) away from the earth, which is only a very small part of the earth’s sky, so the light is hard when the sun shines directly on the object.

Tips: When shooting portraits with existing lights indoors, you can change the distance between the light source and the subject to make the light more moving.

3. Diffuse scattering can disperse light, widen the light source and soften the light

The essence of using diffuse scattering to disperse light is to widen the light source, so as to achieve the purpose of softening the light. When the cloud covers the sunlight, the shadow on the object will be significantly reduced. If there is fog, the shadow will disappear. Clouds, gloomy sky, and heavy fog will diffuse light, and diffusion will spread light in all directions. On cloudy and foggy days, the entire sky will become a very wide light source, a natural soft box.

Tips: Materials such as translucent plastic or white fabric can be used to diffuse strong light. You can add a diffuser in front of an artificial light source, such as a studio flash. If you are in bright sunlight, you can also use a soft light awning or soft light box to soften the light.

4. Diffuse light in reflection

Shoot a narrow beam of light on a larger frosted surface, such as a wall, roof or frosted reflector, and the light will be diffused to a wider area during the reflection process.

But if you use a glossy reflector, the light will still be narrow after being reflected. A mirror is an extreme glossy reflector, the light it reflects is almost as narrow as the incident light.

Tips: Knead a large piece of aluminum foil into a ball, unfold the bright side outwards, and wrap it on a piece of cardboard, and a soft light reflector is ready. Although the diffusion effect of this homemade reflector is not as good as the white frosted reflector, it can add sparkling light spots in the photo.

5. The farther the light source, the faster the attenuation of the light and the darker the subject

This rule states that the illuminance of the subject is inversely proportional to the square of the distance. This sounds a bit complicated, but it’s actually very simple. For example: if you double the distance from the light source to the subject, then the light falling on the subject will only be a quarter of the distance before the increase.

In other words, the light will quickly attenuate as the light source moves away. We should keep this rule in mind that if you are going to move the light source or subject, you must change the quality of the light.

Also note that the distance traveled by the reflected light will increase, even if a glossy reflector is used.

Tips: When shooting portraits outdoors in poor weather conditions, you should use flash (hot shoe or pop-up type), so that the shadow on the face can be eliminated, and the exposure of the background will not be affected, because the light from the flash reaches The background is already negligible.

6. Light attenuation can be used to change the relationship between the subject and the background

If the light is close to the subject, the illuminance between the subject and the background will be more obvious; if the light is far away from the subject, the background will brighten accordingly.

The same principle applies to side light: when the side light source is close to the subject, the light attenuation of the whole picture will be more obvious than when the light source is far away from the subject.

Tips: If the front light of the subject is the light coming in from the window, then bringing the subject close to the window can darken the indoor background. If you want to make the indoor background brighter, you should keep the subject away from the window and close to the background.

7. The front light will weaken the texture of the subject, while the side light, top light and bottom light can strengthen the texture of the subject

Portrait photographers usually keep the light source near the axis of the lens to weaken the wrinkles on the subject’s face, while landscape photographers prefer to use side light to emphasize the texture of rocks, sand and leaves. Generally speaking, the greater the light direction and the angle of the subject, the more obvious the texture of the subject.

Tip: When you want to highlight the fluffy hair of your pet, it is best to place the light source on the side instead of using a front light source.

8. Shadows create three-dimensionality

Shadow is a way for photographers to describe the three-dimensionality of an object. It can make the object present a sense of space in the photo, not just the projection of the object on the plane.

Similarly, the side light, top light and bottom light can cast deep and long shadows on the object to create a three-dimensional effect. Therefore, still life, commercial products, and landscape photographers like to use angled light.

Tip: You can try to use the “Hollywood Lighting Method” to shoot dramatic portraits. Place the top light at a slightly lower position directly above the subject, and adjust the light angle so that the shadow of the character’s nose falls on a slightly lower position in the person.

9. The backlight can be used as a highly diffuse light source

There are very few objects that are only illuminated by backlighting, that is to say, there are almost no pure silhouettes without any frontal illumination. If a person stands in front of a bright window, the opposite wall will reflect part of the light falling on the person. If a person is outdoors, even if the background is bright sunlight, there will be light from the sky on the front. In either case, if you want to record the light falling on the subject, you must increase the exposure, and these lights will reduce the details of the face and weaken the three-dimensional sense of the subject.

Tips: When shooting backlit portraits or silhouettes, try to incorporate the light source into the composition, but this will cause inaccurate light meter readings, so you can try to use bracketing.

10. Light is colorful

Although sometimes the light looks like “colorless”, it is actually colored, and we call it color temperature. It’s just that the “computer” composed of our eyes and brain can adjust perception and adapt to changes, so it’s hard for us to notice it. But digital sensors and film will record colors that we can’t see.

The sun in the morning and evening has warm tones, and the shadows cast by the sun at noon turn blue. The tungsten filament light is obviously yellowish, and the surface reflecting this light will also show the corresponding color.

For digital cameras, you can use the white balance function to eliminate or emphasize the color of light. For example, you can add warm colors in landscape or portrait photos. For film film shooting, you must select the appropriate film according to the shooting environment, or use filter compensation.

Tips: Scenery shots on sunny days, especially the shadows, will be very blue. At this time, setting the camera’s white balance to cloudy can add golden yellow to the photos, which is equivalent to adding a warm color filter in front of the lens.

Why film use light is worth learning from graphic photographers

When photography was just born, there was no film technology. Some photographers tried to learn from painting and sculpture, while others insisted on finding the unique artistic language of photography. At that time, there was a discussion about whether or not to “imitate”.

Time flies, and there are masters and masterpieces in both categories! All that is left is worship and appreciation. I have also heard an interesting story. A chef developed a highly acclaimed cuisine after appreciating Picasso’s famous paintings. Similar or seemingly unrelated affairs can inspire each other, not to mention “movie” and “photography” with the same roots.

In fact, there is no essential difference between film light and photography light. However, in the process of expressing a motion lens and countless daily life pictures, the film involves creating more complicated changes in light than flat photography; during the continuous and uninterrupted filming period, it is necessary to deal with more troubles caused by the cloudy and sunny sunlight.

In addition, the film is a team work. The director recreates the script and tells the lighting teacher the atmosphere he wants. The lighting team refines the realization of lighting again, and the photographer expands the lens language from different angles according to the lighting. In the comparison of flat photography, everything is done by the photographer himself. Obviously, the film has more investment, more equipment, more manpower… At least I believe that their energies must have something to learn from.

How should graphic photography learn how to use light in movies?

Movies are dynamic art that tells the stories and emotions of a certain person or group of people in a certain historical period; they have clear characteristics of the times, characters, and emotional atmosphere. The lighting technique used is very different! Either a single element or the whole can be used for reference, so that we can use the right light to create a photo with a sense of story.

1. Looking for a sense of the times-movies have the background of the times when the story takes place, and the light atmosphere is the first element to create a sense of the times. The unfolding of the screen immediately draws the viewer into that time and space, and is immersive with the protagonist.

For example, in the movie “Farewell My Concubine”, the use of light is not a single, dull and cold tone, nor is it a completely warm tone. It is somewhere in between. On the one hand, it can express the decline of the old Chinese era. On the other hand, it uses enough warm colors to make the characters look non-uniform, with blood and emotions.

For example, in the early Hong Kong films, in order to create the chivalrous and romance in the ancient martial arts films, there were often obvious traces of smoke when they were used up. When the light passes through the occlusion of doors and windows, a beautiful beam of light is generated in the picture, which seems to bring the audience into the mysterious and fascinating old society.

For example, in the movies of Audrey Hepburn’s era, it can be observed in the rich and delicate black and white layers that there are modifiers portraying the hair and contours, so the faces of the characters will form a beautiful three-dimensional contrast. The overall picture creates a strong sense of classical beauty.

If you also want to shoot a set of works with a certain era background, these light details will be a very good reference template.

2. Characters emotions-the plot of the story promotes the emotions of the characters, and further words can be used to imply the changes in the characters’ hearts.

For example: the heroine is in her bedroom, lying lazily on the bed listening to music or whispering in the ears of her lover. At this time, the light on the scene is usually displayed with soft lighting and peaceful excess.

For example: a guy who comes home late at night, the alarm clock rings in the morning, and he reluctantly opens his eyes. The lighting engineer will use a stronger direct light to simulate the glare of the morning sun to emphasize the protagonist’s sense of resistance to the matter of getting up.

 

3. Impetus to the story-use the change of light to intervene in narrative and character creation.

For example: the movies before the 70s were lighting with actors at the core, and aesthetic modeling was the mainstream. Until the appearance of the movie “The Godfather”, the light began to fully intervene in narrative and character creation. In the movie, the old godfather uses the “underexposed top light” from beginning to end. The audience has never seen his eyes clearly, and always gives people the impression of mystery and inability. Another character, Michael Corleone, used light metering and even smoothing when he appeared on the field to shape his simple and flat personality during this period.

As the plot progressed, bad things in the family followed one after another, and a large number of shadows and contrasts appeared on the faces of the characters, portraying the contradictions and conflicts in the characters’ hearts. Until the end of the story, he became the “godfather” of a new generation, and the familiar “underexposed top light” appeared in the picture again. This case tells us that according to the progression of the plot, targeted light changes will effectively improve the narrative of the entire set of works.

All in all, once again understand from the movie, light is not simply lighting or beautifying characters. If you are ready to start practicing, it is recommended to start with the character’s emotions as a breakthrough point, and then gradually advance, and then pursue the expression of inner emotions and desires with light. Of course, practicing this high level of light consumption requires a deeper artistic understanding and life insight.

How to light up is one of the most frequently received questions in the film industry. In the world of high-definition video and movies, those who win light win the world. Not limited to existing light sources, designing light can be described as the housekeeping skill of cinematographers. There are many articles that introduce the basics of film and television lighting. Here we take the film “The Greatest Game Ever Played” as an example to analyze how to use the main light.

The importance of the main light

The main light is the most important light in photography. It can illuminate the faces of actors and bring out their emotions. The director likes to study the various expressions on the faces of actors, so that they can quickly see which side of their face is more suitable for lighting. When arranging scenes, this information will always linger in the minds of directors. You can also make suggestions during the layout to see how to play the main light from the right side. Because location or layout is not allowed, sometimes we will not be able to do this, but this is at least a starting point.

Once you and the actors begin to arrange the scene, you should think about what is the best way to light the scene, and where the main light should come from. Before this, you should have surveyed the venue, talked to the director, and even imagined it with the relevant personnel during the rehearsal, and you may have a good idea. Is this right or wrong? It is correct because you have gone through everything. It is also wrong, because you shouldn’t be limited by this kind of thinking. What should you do if the actors choose different directions in the scene? You have to keep yourself flexible and able to react to the curveball. These accidents are usually very valuable, and it is worth rethinking which side of their face the light will fall on.

When deciding the whereabouts of the main light, the director generally looks at the actors in the choreography, trying to see how they can best receive the main light when they move in a certain space. The most useful advice from directors is to light an area, but if you light an area multiple times, the appearance will be relatively flat. The director generally never shoots the “flat” appearance, so you have to figure out a way to maintain a beautiful contrast by using reflective cloth, styling the lights, or using small props in the space, such as windows and doors. Set the main light for the actors.

Marking actors is a good idea. The director arranges them on the golf course and then tries to spread them out so that they can move naturally and organically in the space without worrying too much about marking. Moving the camera is the director’s job, not the actor’s job. This is one of the director’s most important goals.

Earlier, because the camera was bulky and inconvenient to move, the location of the marker was crucial. The actor’s job included not only performing well, but also stepping on the marker. Now everything is very different. Some cameras now weigh only 2.5 pounds, and the focuser is as flexible as a Zen master.

You should always install slides for the camera so that you can adjust it instead of ruining a performance. You can’t always be in the right place at the right time. If the situation permits, handheld or using a Steadicam stabilizer can give you this flexibility. You can make the light of this scene beautiful, but if you don’t film the performance of the actors, what’s the point of all this?

The use of the main light in the movie “The Greatest Game Ever Played”

Let us take the last scene of the film as an example analysis. The director wanted the leading actor to be full of gold, so that the new champion was bathed in the beautiful sunshine in the afternoon. This is his moment. The director team actually had actor Shia LaBeouf sitting and standing up and choreographing several times, discussing how to bring Steven Dylan (Harry Vardon) in at the best time. Director Bill Paxton hopes that this scene will have a western feel: the old gunman surrendered and left the bar, the bar door creaked and shook behind him, and only the new champion was alone.

Once it is decided that Zean will sit down and film the film, how does the director give his face? He was sitting very close to the lockers, which surrounded him in a big U shape. The director carefully looked at all the lockers. Where should the main light come from? If I want the main light to come in from behind the camera, the light effect will be very flat. The director wants the actors to be bathed in golden light, so this is the starting point.

The director illuminates 3/4 of the warm-color backlight through the window, and dims the brightness to 50% of the Mole Richardson 20K Fresnel fullspot light, and then leaves everything to nature. If there is a bright light coming in through the window and spilling on his head and shoulders, this light will be reflected by the locker and the floor, so that’s his main light. But is this light enough? Not enough, because the brown locker reflects very warm light, so the director hid a reflective card at the bottom of the locker. Sunlight will hit the reflective card and illuminate his face.

When Zean stood up and put on his coat, the warm light exploded on his left arm, illuminating his face. It was a happy accident, and it looked great. However, when he put on his jacket, the light was not enough. The director wanted to show his little smile. This is a very important scene. In order to achieve this goal, the director hung a white towel on the top of the locker, and he can get a little reflected light from the towel. The director hopes to make this moment very private and very secret, because he just won the 1913 Golf U.S. Open Championship! This was the moment that belonged to him, as if he had just turned into a lone gunman and had just killed another cowboy. The director has always kept the contrast quite strong, so that Zean can be distinguished from the background and everything around him becomes dark, which is crucial.

Here, we need something, and that is color contrast. What is color contrast? When there are only one or two tones in a scene, I feel that it lacks depth and breadth. One way to save it is to add a color that is completely different from the existing one or two colors in the scene, and let this color shine at 180 degrees from the opposite direction. Xi’an is wearing brown pants and a shirt stained with tea, and we have brown lockers and golden light coming in through the windows. Therefore, we must use blue undertones in the shadows to give us contrast.

In order to add color contrast, the director hid a 2-4×8 foam board behind the camera, and added two 5500K 1200 LTM HMI PAR lights and a half-sided CTB light film for reflection to mimic the window from the other end of the storage room. The light from the north shining in. What is the light in the north? It is a very smooth and soft ambient light from the north, because it reflects the blue sky light, the tone of this light is generally slightly cooler.

The director’s light-using technique is to first use everything that happens naturally, and then choose how to change or transform according to the whole and feeling.

“The Greatest Game Ever Played” wants to look like a painting, so the director’s tone and color are highly saturated colors in the high-contrast range. The lighting for this film was inspired by a book called “The Glory of Talent: Color America”. This is a photographic album showing 1,100 Kodakrom film negatives found in the attic in the Midwest. The history can be traced back to 1939.

This is the first batch of negatives of the FSA photographic documentary campaign organized by the United States Agricultural Safety Administration, and people have long thought that they have been lost. These negatives have a strong contrast in the dark, with chalky mid-tones and deep saturation of blue, orange and red. Both the director and crew believe that this is the color of the film. The directors have never tried this kind of film expression before, and of course they are extremely excited. They tested the hair, makeup and wardrobe many times to ensure that the colors on the golfer and the actor would have a sharp contrast.

The costume designer initially put Harry Varden in an olive suit. After testing, the director found that the suit would blend into the green grass and wood background. So they chose yellow suits to create contrast, and they received very good results. Let me say something interesting-when the filming of the 500th roll of film is finished, the directors will always open a bottle of champagne for all crew members to celebrate. This time the champagne was opened during the film test.

Never stop analyzing light. Store all the images of light firmly in your memory bank. To travel, to collect images, to find photo reference books, they are vital to the creative development!

Six Basic Lighting Layouts for Photography

1. Split Lighting

As the name suggests, dividing the face into two, one side light and the other dark, will create a stronger sense of drama, suitable for characters with strong personality or temperament, such as artists, musicians, etc., of course, the masculine taste will also be stronger.

To create this effect, place the light source at 90 degrees to the left or right of the object, and move it forward or backward slightly to accommodate different surface shapes. Note that the lighting must follow the subject’s face and change. When the head is turned, the light should also follow.

2.Loop Lighting

This method allows the nose to cast some shadows on the cheeks. To achieve this effect, the light source should be slightly higher than the eyes and the camera’s plane by 30-40 degrees. (Depends on the specific face shape)

This is a very common technique, but a common mistake is to place the reflector too low, and the light hits the nostrils, so that the desired effect is not produced.

3. Rembrandt Lighting

The reason for this name is precisely the lighting technique often used by the painter Rembrandt in painting. The triangle of light on his face is the mark. Unlike the ring lighting, the shadows of the nose and cheeks are connected, but more importantly, the eyes on the shadow side still have eye light to maintain a bright and vibrant appearance, and the photos are also dramatic.

When shooting, the subject should be slightly turned away from the light source. Of course, the position of the light source should be higher than the head, so that the projection of the nose is connected with the projection of the cheeks. However, not everyone is suitable for this lighting. People with larger cheekbones are ideal, while those with a low nose bridge are more difficult. Therefore, a good lighting should be changed according to the specific subject, and cannot be generalized.

4. Paramount Lighting

Paramount Lighting is also known as Butterfly Lighting. This lighting is named after the butterfly-shaped symmetrical shadow created under the nose.

The light source is set to the front light behind the camera, which will create shadows on the cheeks and chin, so it will accentuate the cheekbones, and make the face look thinner and the chin sharper, which can enhance the charm of the subject. However, reflectors are sometimes used as supplementary light.

5. Broad Lighting

This is not a specific lighting setting, but a style, which can be used regardless of division or circular lighting.

The method is actually very simple, that is, turn the light-receiving side to the lens, so the light-receiving side will look wider, and then the entire face will look larger and wider, suitable for people with thin faces.

6. Short Lighting

Contrary to the wide light, the darker side faces the lens, so that the face looks sharpened and has a more three-dimensional effect and atmosphere.

The lighting method is the same as that of the wide light, but in the opposite direction.

Lighting effects of different types of light

Lighting effect of front side light

Use a light (with or without soft box, soft light umbrella and other accessories) as the main shaping light-called the “main light”-from the camera side to the shooting direction about 300-600 position Illuminate the subject to form a “front side lighting effect”. It is characterized by that most of the subject (especially the face) is directly exposed to light to form a bright shade, and a small part of the area is not directly exposed to light to produce shadows. Therefore, it can both It shows the three-dimensional sense of the subject, and the overall tone appears bright, so this is a relatively successful lighting method.

If only one lamp is used for lighting, the tone of the subject’s shadow will appear too deep and too heavy, which not only promotes the necessary details, but also the color of the shadow is not good, so a second lamp or reflector is needed for auxiliary lighting , Improve the brightness of the shadow part, and maintain a proper brightness ratio with the bright surface (commonly known as “light ratio”), this kind of light is called “auxiliary light”.

The strength of the auxiliary light determines the size of the light ratio and is inversely proportional to the light ratio. The weaker the auxiliary light, the greater the light ratio. As for whether you need to add a background light to illuminate it depends on the specific situation. When the main light and auxiliary light are arranged properly, if the background light and dark tones meet the requirements, there is no need to add the background light. If the background light and dark tones need to be adjusted, add the background light and then adjust until the ideal state.

Using front side lighting, the main light usually needs to be slightly higher than the subject’s head, but not too high, lest the subject’s eye sockets, nose shadows, and chin projections are too heavy. But when the subject wears a hat or other head accessories to shoot, the main light should basically move its position to the subject’s face shape to adjust the ratio of the subject’s bright and shadow sides to make the subject’s face The “borderline of light and darkness between the bright surface and the shadow surface is in the proper position. Remember, it is very important!

If you use a reflector for auxiliary lighting, you can place it on the side of the subject’s shadow. However, if a light is used as auxiliary lighting, it should be placed as close to the camera as possible. Some people like to place the auxiliary light on the side of the shadow of the subject, but it is not as effective as the auxiliary lighting from the camera direction, because the latter is easier to eliminate the unlit “dead corners” and it is also convenient to make it on the dark eye of the photographer The reflected light spot falls on the right place. The auxiliary light should not be too high. When the light spot formed on the black eyeball of the subject can fall on the upper edge of the pupil, its height is the ideal height.

When the subject’s face is turned slightly to the side, when viewed from the shooting direction, the faces on both sides of the nose must have a narrower and wider side. If the main light is projected from the narrow side, it is called “narrow light illumination”, if the main light is projected from the wider side, it is called “wide light illumination”. Wide-light illumination can easily reveal the nose shape of the subject, and can emphasize the beauty of the nose shape. However, if the nasal bone is too high or too low, wide-light illumination is not suitable. Those with fat cheeks and protruding jaws (located on the side of the face below the ears) are not suitable for wide-light illumination.

Use the front side light to shoot portraits. Since the main light is slightly higher than the subject’s head, there will be a little projection on the nose and chin. For a full-body portrait, it is not necessary to adjust its projection, because it occupies a small area in the whole portrait and is not easy to detect. If you are shooting half-length and close-up portraits, you can place a white foam plastic board in front of the subject or on the knees, and use its soft reflection to dilute the projection of the neck. According to many years of experience, using foamed plastic boards is better than placing a small soft box on the ground.

 

Downlight lighting effect

The main light is projected from the camera direction to the subject, forming a “downlight lighting effect”. The characteristic is that the subject’s overall light is relatively uniform, the tone is bright, and there is no obvious shadow and projection. Under light illumination, the three-dimensional sense of the subject’s face is not formed by the amount of light received, but determined by the curve of the face itself-the convex parts are bright, and the side and back parts are slightly darker. Therefore, the face exposure is not suitable Excessive, otherwise it will affect the portrayal of the entire image.

Downlight lighting can be done with two lamps or one lamp: two lamps, usually two flashes with the same power plus a soft box, are located at the same distance from the left and right sides of the camera, slightly higher At the height of the camera, the light is projected to the subject, and the two soft boxes should not be too high to avoid too deep shadows under the neck and nose; a light should be slightly higher than the camera and projected from its back to the subject. The photographer, if the shadow on both sides of the face is too deep, you can use a reflector (preferably a white foam plastic board) to dilute it.

The advantages of downlight lighting are that the tone is clean and there are few shadows. It is suitable for shooting symmetrical and young portraits. However, if the subject’s face is wide, or the sides are obviously uneven, if the downlight lighting is used, its defects will be easily exposed, so it is appropriate Use front side light and side light to illuminate the overly wide areas of the face with shadows.

Side lighting effect

The main light is projected from the subject’s side and the camera lens in a direction of about 900, forming a “side-light lighting effect.” In this case, the three-dimensional effect is strong, because half of the subject receives light directly to produce bright tones, and the other half does not directly receive light to produce shadows. Under side-light illumination, due to the large shadow area of the subject, auxiliary illumination is often required. In general, in order to make the subject’s facial tone clean, the “light ratio” of commercial portraits should not be too large.

When using side lighting, both the main light and the auxiliary light should not be too high, otherwise the upper part of the face receives more light and the lower part receives less light and the tone will appear uneven. The auxiliary light should be placed as close to the camera as possible.

When shooting a person with a fat face and asymmetrical left and right sides of the face, the side-light illumination can be used to cover the fatter cheeks, which is conducive to the appearance of the subject to be more perfect.

People with a correct nose shape and beautiful nasal bones are suitable for side-light lighting, while those with a too high or low nose bridge are not suitable for side-light lighting, because the side-light lighting will reveal the height of the nose more clearly.

Digital Development Process of Film and TV animation

In recent years, the digital development process of film and television animation has been accelerating. From large national events to small advertising or publicity forms around me, these digital film and television animations are now being adopted.

During the 2010 Guangzhou Asian Games, the Asian Games city promotional film showed the profound cultural heritage of the city of Guangzhou. The three-dimensional virtual simulation information system of the Asian Games venues allows people to intuitively understand the details of the venues, and at the same time, they can swim unimpeded in the major venues and experience the grandeur of each venue building immersively. At the opening ceremony, the colorful images on the eight large LED displays created a dreamlike on-site effect. In the Museum of the Nanyue Palace, the restoration of historical relics in three-dimensional film and television animation is vivid and lifelike, as if it were taken, and fully shows the historical changes of Guangzhou for more than 2,000 years. These are all innovative experiences brought by digital film and television animation display.

With the extension of computers in the field of film and television and the increase of production software, 3D digital imaging technology has broken the limitations of film and television shooting, and made up for the lack of shooting in terms of visual effects. To a certain extent, the cost of computer production is far more than the actual shooting. The cost is much lower. At the same time, it saves time for the crew due to budget costs, location weather, and seasonal changes.

The computer equipment hardware for producing special effects animations for film and television are all 3D digital workstations. The production staff are specialized in computer, film and television, art, film, music, etc. Film and television three-dimensional animation can express vividly from simple film and television special effects to complex film and television three-dimensional scenes.

Advantages of digital display of film and television animation

Vision is the fastest way for humans to obtain information. An image contains countless information points, and obtaining this information by looking at the picture can be completed in an instant. If it is expressed in words or language, it not only takes a lot of time, but also easily leads to omissions and misunderstandings. Therefore, the digital display of film and television animation uses visual images to establish a high-speed channel for communication between virtual information and the real world.

At present, this advantage of digital display of film and television animation has been widely used in the display of the real estate industry. Developers use virtual three-dimensional film and television animation to visually display the real estate, so that consumers can see and buy with confidence.

1. The digital display of film and television animation has a rich display method, which can bring a profound experience.

The combination of digital image content and various hardware can derive a variety of display forms. Digital sand table, the combination of digital image content and sand table model not only allows the audience to see the three-dimensional model, but also fully understand the various information of the area through the image content. The 360-degree surround screen display system, the screen surrounds the audience, with shocking three-dimensional image content, you can create a deep immersive experience.

2. The digital display of film and television animation uses less space to show more information.

In the digital display of film and television animation, one LCD screen can display the information of countless exhibition boards, and can also adopt dynamic screen content and interactive mode, which not only saves a lot of space, but also displays more vividly.

3. The digital display of film and television animation is applied to a wider field.

The digital display of film and television animation has greatly surpassed the traditional display mode in terms of content and effect, and has completely surpassed the scope of traditional display in the application field. At present, it has been widely used in real estate display, digital city, historical site restoration, virtual tour, event special effects, project rehearsal, and industrial simulation.

The origin of the digital display of film and television animation can be traced back to the early 1990s. The emergence of 3D renderings is considered to be the earliest form of digital display, and it is mainly used in the architectural expression of the real estate industry. Architectural rendering and architectural modeling must first consider the form of film and television animation. By the end of the 1990s, the use of 3D film and television animation made the display more exciting, richer in content, and more widely used, and it really began to form the embryonic form of the industry. With the widespread application of digital display of film and television animation, the concept of digital display of film and television animation has gradually become clear, and the independent industry form has begun to be recognized by people.

The Development Trend of Film and TV Animation

1. “Numerical Value of Film, Animation and Communication Media”

With the development of hardware devices, the carriers for transmitting animation are increasing rapidly. In addition to traditional TVs, movies, the Internet, mobile phones and other mobile devices have the function of playing multimedia files, which provides a broad platform for animation creation. However, the increase in animation output will inevitably bring about problems such as the extension of the production cycle, the expansion of manpower consumption, and the control of costs. Therefore, the improvement of animation technology is imperative.

2. “Paperless production process of film and television animation”

This is the second trend in the development of animation. The advantage of the paperless animation process is to greatly improve production efficiency, and through the gradual simplification of the software, more animation enthusiasts can make their own animations.

3. “Computer three-dimensional film and television animation”

The popularity of 3D animation continues to heat up. Although the audience in the future will not be satisfied with just watching the 3D matrix, it is undeniable that digital is the full arrival of the era. It can be predicted that in the future, animation will look forward to more diversified development, and digital technology will definitely help us reduce the cumbersome procedures of the production process, allowing us to renew and better achieve the desired audio-visual effect. An imaginative character; technology is a tool to assist humans, and creativity is the most precious treasure of animators.

The development status of the animation industry

Market resources are abundant, local industries are immature, and human resources are seriously insufficient.

Animation and multimedia industries have the characteristics of today’s knowledge economy, involving culture, art, technology, media, publishing, commerce and other industries. In Europe, America, Japan, South Korea and other countries, a complete and mature industrial chain has been formed, and a virtuous cycle structure of input and output has been formed, which has brought considerable economic and social benefits to the animation and multimedia industries.

In 2005, the global animation industry output value reached 250 billion US dollars, while the output value of peripheral derivative products related to the online game and animation industry was more than 500 billion US dollars. In recent years, China’s animation market has also been developing rapidly. As far as the online game industry is concerned, according to the latest “2004 China Online Game Research Report” released by iResearch, the scale of China’s online game market in 2001 It was only 370 million yuan. In 2003, it reached 2.55 billion yuan. In 2004, it reached 3.91 billion yuan, an increase of 46% over 2003. By 2006, the market size of online games in China had exceeded RMB 8 billion, that is, from 2001 to 2006, the compound annual growth rate reached 92%.

Although we have a huge market, we have not been able to develop our own related industries. A survey shows that among teenagers’ favorite animation works, Japanese and Korean animation accounts for 60%, European and American animation accounts for 29%, and the proportion of original animation in Mainland China, Hong Kong and Taiwan is only 11%. Japanese and Korean products account for Chinese online games. The main location of the product. The reason is that in addition to the economic operation mechanism and development level, the main bottleneck is the lack of professional talents in various film and television animations in national enterprises.

Talent demand in animation industry

According to expert statistics, the current animation industry needs 150,000-200,000 talents, but only about 10,000 talents can be provided every year, and there is a huge talent gap. At present, the employment rate of animation and related majors has always been high. In 2004, the employment rate of animation majors in colleges and universities reached 100%. Among them, 12% were hired by the central and provincial radio and television, press and publication departments, 9% were taught in related art majors in colleges and universities, 72% were engaged in animation design and production work in major animation industry companies across the country, and 7% were engaged in other related work. The income of animation talents is also considerable. 85% of animation talents have monthly salary of more than $3,000, which is twice the salary of the traditional IT industry. The annual salary of experienced animation senior production staff can reach about $60,000.

With the further development of the industry and the further maturity of the market, the demand for all kinds of professionals will be more extensive, and the requirements for the quality of talents will also be higher and higher. Practical and compound talents who are proficient in vocational skills, creative and planning abilities, and possess good humanistic qualities will be very popular. The huge contradiction between China’s huge animation and multimedia market and the critical shortage of related professionals in China will undoubtedly bring an excellent development opportunity for China’s animation and multimedia education. Seizing this opportunity to develop our country’s animation and multimedia education is a top priority.

China Animation Market

There are many opinions about how big the consumer market of China’s animation industry is every year, some say that it is $10 billion, and some say that it is $15.6 billion. No matter what the argument is, the numbers are staggering. With a century of animation history, the United States has become the world’s largest animation production and product export country. The annual output value of its animation and derivative products is more than 50 billion U.S. dollars. Disney’s operating income in 2000 alone reached 15 billion U.S. dollars. The animation industry has surpassed the aircraft manufacturing industry and the steel industry to become the sixth pillar industry in the United States. The Japanese animation industry, which is famous for its classic images such as “Astro Boy” and “Ikkyu”, has an annual turnover of 9 billion U.S. dollars, and animation has become Japan’s third largest industry. “Rising star” South Korea, the total market size of the animation industry in 2003 also reached 770 billion won, about 700 million US dollars.

Authoritative survey figures show that China has become the second largest market in Asia in terms of selling copyrighted toy products. As a result, cartoon licensing has also become an emerging industry with great development potential. By 2012, a large number of 3D movies were released, such as “Sell”, “Submarine Mobilization 2”, “Journey to the West”, etc., and the box office of Chinese movies continued to rise and break through year after year.

The figures show that the total output value of China’s animation industry has exceeded $3.5 billion each year. At present, the annual sales of children’s food in China are about $5.48 billion, the annual sales of toys are about $3.125 billion, and the annual sales of children’s clothing are more than $14.1 billion. The annual sales of products and various children’s publications amounted to $1.563 billion.

There are 367 million minors in China, and they are all potential consumer groups in the animation industry. It is estimated that Chinese animation products will have a huge development space with an output value of over 100 billion yuan. Some experts optimistically estimate that there is a gap of at least $12.5 billion in China’s animation industry.

Types of Light

Divided by Light Direction

Side Light

When Ma Xiaojun opened the door lock of Milan’s house for the first time, the sunlight in the house shone on his face. What the camera photographed was obviously the side light lighting effect. The picture changed from the dim in the corridor of the residential building with no rising sun to the sunlight filled with most of the picture, which seemed to indicate an upcoming major change, This time, a series of events happened after the ghost opened a secret lock, which also brought great influence to Ma Xiaojun’s life in his youth.

ƒ  Slant light: refers to the light projection direction and the camera direction at a horizontal angle of 45 ° The light of the sun. The surface texture and outline can enrich the dark level of the picture and play a good role in modeling.

After his father left, Ma Xiaojun was bored to peep at the girls dancing in the army compound. His naughty companion smashed the window he peeped at with a stone, and immediately turned to look in the direction of the stone. At this time, a slanting light just outlined Ma Xiaojun’s face in his childhood. His round, plump, bright eyes were staring at the back, like a disturbed monkey, That kind of naughty child image suddenly highlights.

Divided by Light Intensity

• Strong light: make the subject bright and clear, clear outline, soft and fresh. Milan, the heroine in the play, often uses the strong effect of overexposure to create her purity and softness.
• Weak light: make the subject dark and fuzzy, the outline and details are not obvious. Every time there are scenes of Ma Xiaojun and his mother in the film, the producer always uses low light, creating a somewhat discordant atmosphere with a slight generation gap.

The Role of Lighting in Movies

• Exposure function: lighting makes the film get accurate exposure, so that the film can get normal film density after development.
• Modeling function: according to the requirements of photography art creation, the lighting makes the picture in the second space appropriately present the artistic effects of the texture, three-dimensional sense and space sense of the subject.
• Composition function: the lighting effect can highlight the main body, and balance the composition of the picture, so that the composition has a formal aesthetic feeling
• The role of drama: In the film “sunny days”, lighting is far from completing the first three tasks mentioned above. Here, as one of the audio-visual language of film and television, “light” has become an important means to create dramatic effects, which is vividly displayed.

1)The characterization of light. Milan, the heroine of the film, is very particular about the light treatment. Milan is a mysterious figure who has never been seen in the film at the beginning. It exists in the photo, hazy and beautiful. She often uses backlight and overexposure to make her look bright and beautiful.

2) The rendering of light to atmosphere. Light plays an important role in the creation of environment and atmosphere. The bright sunshine is joyful and light, and the bright moonlight is quiet and peaceful. In sunny days, the flowing light overlaps and the floating light flows quietly, rendering a lot of beautiful artistic conception and extending a poetic picture.
3) The construction of the theme of the film. In the cultural revolution period, under the political repression, ideological confinement, darkness and haze, life was full of this kind of fighting. The director showed the rebellious, crazy, impulsive and confused youth of that era with the dark yellow tone.

 

Lighting Treatment of Film

In “Sunny days”, light is regarded as the core and subject of narration. The core of “Sunny Day” is a kind of idealistic, high spirited and magnificent passion. The treatment of light in “Sunny Day” is just like the catharsis and eruption of passion. The whole film is shrouded in a golden, warm, brilliant and brilliant light, reflecting a special era, expressing the passion in my heart and the theme of the work. The use of light in “Sunny Days” is so accurate, incisive and exciting. There are three kinds of light distribution in the film.

Outdoor lighting:

In order to better express the theme of the film, outdoor lighting is mostly taken in “Sunny Days”, in sunny and “transparent” conditions, such as walking on the roof.

Indoor lighting

Indoor lighting is mainly high wattage spotlight lighting, creating and rendering a warm and golden lighting effect. For example, the bedroom of Milan where Ma Xiaojun saw the picture of “the man in the picture”, the water room where Milan washed her hair, the classroom where little girls danced, the Moscow Restaurant, etc.

Through the analysis of the film, we can simply sum up several functions:

① A sense of form. The high wattage spotlight lighting makes the shooting environment spatial and hierarchical. It makes the body and face of the character have a clear contrast between yin and Yang, and has a strong modeling effect.

② Beautify the characters. The high wattage spotlight lighting greatly beautifies the character (Milan) to be praised in the film, and vividly shows Ma Xiaojun’s strong poetic and beautiful love. For example, goodbye to the paragraph “man in the picture”. Close up Ma Xiaojun’s hand gently strokes a long hair. The golden sun was shining on the hair of the man in the picture. With the sunshine shining on his hair, he expressed the romance, beauty and poetry of love in Ma Xiaojun’s heart.

ƒSubjectivity. High wattage spotlight lighting makes people and environment more subjective.

„ Juvenile perspective. The high wattage spotlight lighting makes the shooting environment spatial and hierarchical. It makes the body and face of the character have a clear contrast between yin and Yang, and has a strong modeling effect. The contrast between yin and Yang is strong, and the modeling effect is distinct, which is exactly the young ma Xiaojun’s view of the world and things. This is the film “Sunny Day” of the lighting treatment of the unusual outstanding point.

For example, in the first paragraph of “the man in the picture”, the lighting makes the room of “the man in the picture” clear. At the beginning of the passage, Ma Xiaojun stood in the shadow with a telescope in his hand. Later, Ma Xiaojun saw the “man in the picture” on the wall through the telescope. Ma Xiaojun step forward, Ma Xiaojun from the shadow to the bright sun. With the dark and bright changes of light, this paper describes the great excitement in young ma Xiaojun’s heart and the awakening of his sacred and great love.

Overexposure

There are also some special lighting treatments in “Sunny Days”. In some paragraphs of the film, the producer intentionally overexposed the film. Such as for Milan hair behind the paragraph, in Milan’s room shooting Milan. Close up Milan is wearing a white coat and a long black braid hanging over Milan’s chest. On the one hand, we use special film with strong grain contrast for high-profile photography.

At the same time, the intense light distribution makes the subject overexposed. High profile photography and overexposure make Milan’s black hair and white clothes more prominent and strong, and further increase Milan’s aesthetic feeling and unreal feeling like the people in the painting.

In short, through overexposure to express the beauty of the subject, the madness of love with Ma Xiaojun and his special mentality.

“Sunny Days” is like a restless youth light and shadow diary. It outlines the silhouette of time with bright color and yellow halo. It sets the belief of youth with brilliant light and poetic picture. Director Jiang Wen uses his artistic hand to engrave a beautiful time album and play a concerto of light and shadow.

Light and shadow Concerto

On the Lighting of the Film “Sunny Day”

Huang Zongzhan, the first Oscar winner and known as the “master of lighting”, said: “in all photography, the most important factor is the use of light. Light brings texture, atmosphere and artistic conception to the picture. Compared with the use of light, the arrangement of scenery is in a secondary position. Good use of light can bring people a sense of reality and intimacy, and light has a particularly wonderful nature. ”

“Sunny days” is a very excellent film in the use of film and television lighting. It has left a deep impression on audiences of different ages since it was released in 1994. This paper intends to make a detailed analysis of this film from the types of lighting, the role of lighting in the film and other aspects.

“Sunny days” is adapted from Wang Shuo’s novel “fierce animals”, directed by Jiang Wen and photographed by Gu Changwei. The film won the 33rd Golden Horse Award for best film, best director, best actor and best photography. Time magazine of the United States selected it as “the top ten international films”.

The story takes place in Beijing during the cultural revolution. It tells the youth story of a child living in the military compound, reflecting the cruel youth and hazy love in that era. Ma Xiaojun’s father is away all the year round. He and other children in the compound play truant, fight and smoke together, and “street mixing” has become the theme of their life. When the outside world turns upside down, these teenagers live a sunny life in their own world.

The biggest difference between “Sunny Day” and other films is the freehand brushwork, Impressionism and subjectivity of the light, which takes “light” as the subject and core of the film narrative. This is a real Chinese film about youth and growth. Systematic use of light is the director’s overall conception of the play. The repeated skills express the sunny youth in the confused memories.

Film Tone

Due to the different illumination degree of the light to each part of the subject, different brightness ranges are formed, which makes the shadow on the picture produced different light and dark levels of tones, which is called film tone. In color photography, the tone of the image on the screen has a color relationship besides the light and shade relationship. That is to say, from the perspective of light and shade, there is a relationship between shadow and tone; From the color relationship, there is also a relationship between hues.

There are many factors that affect the formation of shadow tone in figure photography, such as lighting, the condition of the subject, the control of exposure during shooting, etc. Different lighting conditions will make the subjects form different lighting area and light ratio, and form different light and dark tone configuration, thus affecting the tone of the whole picture.

The cultural revolution itself is a depressing age, a gray age. However, in the vision of the ignorant teenagers, they did not feel the disorder of the outside world. On the contrary, they gained a kind of liberation in behavior and emotional catharsis in the general disorder of the society.

The film abandons the cold color which symbolizes the times, overflows in a warm and brilliant light, and diffuses in a faint amber tone. Release the true color of youth, perhaps release is the true color of youth.

Besides the cruel youth described by Wang Shuo, Jiang Wen integrates more warmth. The use of light in the whole film is very representative, such as poetry, painting, dream and fantasy.

Only a few scenes in the film are gray. First, after the birthday party, Ma Xiaojun fell into a big hole in the road in the stormy night. This is to pave the way for him and Milan to release themselves completely in the rain and express their love for her.

First, in the night of fighting with several children of the “six principles”, night and violence seem to be a natural couple. There is also at home, the mother’s picture is always gray, perhaps to emphasize Ma Xiaojun’s depression at home.

At the end of the film, it appears in black and white, which is in sharp contrast to the bright color. Although they get on a luxury car, drink foreign wine, and walk on a modern overpass, they are far away from the rebellious youth. The sunny days are gone, and their life is no longer the same color as it was.

Types of lighting

The type of lighting is a general term, according to different standards have different classification.

According to the light source, it can be divided into natural light and artificial light.

The whole film is the use of natural lighting, the picture is not sunny, that is, brilliant lighting. The director uses a variety of means to show the sunshine, such as atmospheric perspective effect, large contrast effect, overexposure, backlight and so on.

Not only during the day, the use of smoke, exposure, the use of backlight silhouette and other means to show brilliant sunshine. At night, the play also strives to create a “sunny” effect. Indoor lighting forms a thick shadow, reflecting the great contrast of light and shadow. Outdoor lighting releases smoke and so on.

At the same time, the effects and some logical errors shown in films such as atmospheric perspective also reflect the confusion of adult Ma Xiaojun’s memories, which is ambiguous and untrue. In the movie, the classic montage on the roof is taken in the magic period. The height of the sun highlights the shape of the shadow better. The colorful changes in a short time show the complex and rich feelings of Ma Xiaojun after he was deeply attracted by the Milan photos.

The film uses a lot of location shooting, full of sunshine and power. The use of light makes the film sound and natural.

Divided by light direction

Light is the soul of photography creation, and film light is an important form of film visual style. According to the direction of light, film photography creation can be divided into six forms: smooth light, reverse light, side light, oblique light, top light and bottom light.

• Backlight: the illumination direction of light is opposite to the shooting direction of the camera. The edge of the scene and the object has obvious light outline, which forms a sharp contrast in the composition of the picture. It can well show the translucent texture, show the bright edge outline of things, and has a strong visual impact.

The film boldly uses the technique of backlighting. In Beijing’s hutongs, the sunlight comes in directly, the bicycles are shining, and the young outline is beating in the strong light, which makes it very energetic. And on the way Ma Xiaojun sent Milan to the farm, all the way was full of brilliant sunshine, which echoed the theme very well.

•   Side light: the direction of light and the camera shooting direction is 30 °、 60 °、 90 °.  There are obvious light receiving surface and backlight surface between the scene and the object. There are very clear light direction and light dark relationship between the scene and the object. It has the best modeling effect.