Cinematography-Theory-And-Practice

Figure 7.29. (top) In the establishingshot from Honeydripper the oil lampsare clearly shown to be the motivationfor the direction, color, and softnessof the light, which is then usedto great effect in this two-shot.Figure 7.30. (bottom) Once thesources have been established in thewide shot, the lighting of the mediumsand close-ups makes sense andseems appropriate. This is an exampleof both motivated lighting andcarrying a lamp.the actor from the same direction as the light from the lamp. It alsoneeds to be the same quality of hard or soft and the same color; tablelamps tend to be on the warm side, often about 2800K or warmer.Figures 7.25 and 7.26 show a modern take on a film noir look thatemploys a different method of carrying a lamp. Here the lightingis actually very simple: it’s a Betweenie (300 watt Fresnel) that isbouncing off the piece of paper in the typewriter. Another Betweeniegives the actor a backlight, and a third one puts a small splash on themap behind him.The typing paper bounce gives him a moody look appropriate forthe scene and doesn’t create problematic shadows like a hidden lightfrom below would. If we try to light the actor with the practicalcinematography122