Website: Lorenzolevrini.com
These are the notes I took from the lighting workshop
Everything is a tool, just depends on characteristics of the tool and whether you require what it offers. (It’s the same way you choose a screwdriver depending on if the job needs a crosshead or a flathead). This goes for natural light as well.
Story source: Same lighting as is described or understood in the film. When approaching a scene it is important to think about:
What is the story source?
It is about knowing what you want to see and having and realising the tool you’d need in order to recreate that, all while looking as normal and natural as possible.
What is the story source?
What is lighting the scene in the story?
What would I like to see?
What would make sense to the story?
Visualise what you want. Break it down into sources - intensity/colour temperature/direction/softness/hardness/specularity/directionality/contrast. Identify the characteristics of the sources.
How directional is it? How hard is it? Can it be softened? What contrast do you want to see? How much colour separation do I want in the scene?
Always have to make a choice about the direction of light.
Having names for directions makes communication easier. For example: if the light source is above the lens it’ll be called a full frontal.
Film lighting is all about telling a story with light. Making the lighting look natural.
A practical light is one that is used for lighting but is also in the scene itself; like a lamp or a torch.
In terms of an interview the focus of the light is to make the face look good.
2 point lighting gives no explanation of where the light is coming from. There is less contrast on the face - it makes it appear flatter.
You’d choose film lighting over a regular light bulb as it is more directional and you have more control. A light bulb is ‘hard light’ as it casts sharp shadows. In order to make the shadows harder you should use a smaller light. Smaller light sources are also more directional.
Control your shadow softness by adjusting the key light. Your key light is the main light. Fill light is the second and your back light is the third. Backlights provide separation between the background and the subject.
The size of the bulb at the source isn’t important. It is the bulb size at the focus where the importance lies.
Rather than filling in the shadows, it’s about controlling the contrast on the face. In order to reduce contrast you should add a second light on the opposite side or a reflector - shadows have to be smooth by the first light.
In order to simulate sunlight you need 2 sources:
The sun - warm, hot, bright
Sky light - cooler, blue colour.
Clouds move - both of which are unreliable.
Each of these changes will adjust the light of the scene. Skylight is colder in the morning and the evening.
We then looked at a series of clips and analysed the lighting within the scenes.
2 sources - one from each direction
Right side is warmer than left
Left is sunlight - harsh, bright
Right side could be lamp - much warmer feel
Walls dark - no bounce back
Bond walking down dark hallway. Lit only by window light
Hard light cast across face - directional light
Beams of light coming in through blind slats
Hard light to create shadows
Dark walls used to reduce bounce back - scene is only effective because there is little bounce back
Softness as shadows are diffused
Dark moody natural? Lamp in the ceiling
Lots of bounce back - interesting ways
Difference in warmth on the bathroom tiles
Light coming from behind camera due to changed positions of the characters - made sure the lighting doesn’t reflect off the back tiles
Silhouette of man on phone in front of large window where bright snow is falling heavily
No lights in the room to add bounce back
Overcast day due to snow. White daylight single source
Difference between what is light and dark is subtly controlled
I found this lighting workshop very interesting and educational. I didn’t have the first clue about lighting a scene before this session and I left feelings like I had a basic understanding of what I need to be doing in the future.
I liked that Lorenzo used actual lights, props and human faces (volunteers in my class) in order to explain what he was saying. I preferred this to looking at diagrams and trying to understand the processes that way.
He discussed different situations and then lit the faces depending on the circumstances being talked about.
When I watch films these days I tend to analyse the soundtrack, camera movement, acting abilities, continuity, editing and storyline. I have also noticed that I now pay more attention to the lighting and the placements of the light sources. I pay attention to the way the lighting affects the scenes and the drama unfolding.
I always knew lighting played a major roles in the production of high quality media but I don’t think I realised that amount of work and thought that goes into the placement of a lamp within a scene.
The analysis of the scenes we looked at was also really helpful. Lorenzo would talk about the thought processes behind the decisions made. Why a scene was lit in such a way, the particular lights used, their positions and the effects those choices have on the audience. We were allowed to really get inside his head and ask all the questions we wanted.
This workshop really helped in my personal growth as a producer as it provided me with more confidence in certain situations. Say if I was asked an opinion, I now feel that with what I have learned from this workshop, I would be able to give somewhat of an educated response.
It was clear to me throughout the workshop that Lorenzo really enjoyed his work. His obvious passion and enthusiasm for light was passed onto me, something I really needed. If I were given the choice of working in the lighting department or the sound department then I would have previously always chosen sound. After that workshop I’m not sure if I would make the same choice.
