Making Better Movies with Moviestorm Vol 3: Sound and Light

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MOVING LIGHTS Shoot the scene with a basic lighting setup. Shoot it again, but this time move the lights during the scene. Review What did the moving light add to the story or the atmosphere? What do you have to do differently depending on whether you’re lighting close shots or master shots? What difference does it make whether you’re lighting people or objects? What difference does it make if the lights move during static or moving shots? What would be involved in creating this effect in live action? Followup exercises Experiment to see how much you can change the lighting during a scene before it gets too hard for the audience to watch. 36
HANDHELD LIGHTS Technique Film a sequence using lights that are held by the characters. This is a useful technique for mysteries, exploration sequences, horror films, and so on. When you have characters using flashlights, this allows them to direct the light. This means that you can control where the audience is looking, and create shifting patches of darkness and light on the screen., which makes for an interesting visual sequence. Most of the time, the lighting will not actually be created by the props: you will have to create a lighting design that seems right, even though it is completely artificial. Filming in this kind of environment requires careful planning otherwise the scene can be hard for the viewer to interpret. If there is too much darkness, or the lights are moving too much, the image can appear disjointed and chaotic. This may be the effect you want, particularly in action sequences, but you must ensure that the viewer still feels involved and interested. Handheld lights are often moving. you should complete the previous exercise on moving lights first. A character using a burning torch to illuminate a cave. The torch only provides part of the light: the set is lit with a dim glow in order to provide some lighting outside the area that would actually be lit and create a more pleasing composition. Cutting to the close shot creates a contract in light levels, from the primarily dark screens at the opening and closing to a brighter shot in the middle of the sequence. Take a scene in a single location – either interior or exterior. The set should have plenty of things in it: if external, include trees, rocks, and so on. Have at least one character with a hand-held light. Dialog is not necessary. 37
Page 2 and 3: CONTENTS FOREWORD .................
Page 4 and 5: This excellent series of books will
Page 6 and 7: EXERCISES How to use this book The
Page 8 and 9: Once you start thinking about the s
Page 10 and 11: FOLEY OR NOT? Film the scene, and r
Page 12 and 13: AMBIENT NOISE Film and edit the sce
Page 14 and 15: REALISTIC AMBIENCE Go to a busy loc
Page 16 and 17: EMPHATIC SOUND Shoot the scene base
Page 18 and 19: USING MUSIC AS LEITMOTIF Shoot the
Page 20 and 21: USING SOUND TO BRIDGE A SCENE Shoot
Page 22 and 23: CUTTING & DIRECTING TO MUSIC Film a
Page 24 and 25: MUSIC VIDEO Film the piece in five
Page 26 and 27: Lighting a virtual movie scene is a
Page 28 and 29: REALISTIC VS UNREALISTIC LIGHTING F
Page 30 and 31: FAKING LIGHTING CONTINUITY Shoot th
Page 32 and 33: MOSTLY DARK SHOTS Shoot the scene a
Page 34 and 35: DAY VS NIGHT Film the scene in dayt
Page 38 and 39: HANDHELD LIGHTS Start in a dark set
Page 40 and 41: SILHOUETTES Shoot the scene convent
Page 42 and 43: FILMING SHADOWS Shoot the scene con
Page 44: Matt Kelland is one of the founders

Making Better Movies with Moviestorm Vol 3: Sound and Light

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