Archive for the Cinema e Fotografia Category

Three Point Lighting & the magic of Key Light

Posted in Cinema e Fotografia with tags , , , , , , , on 5 aprile 2015 by realuca

The Key Light

The key light is vital for video production lighting: it is placed about 45 degrees to the subject, either left or right, usually above and aimed down between 30 and 45-degrees. It is the dominant light. Position this light as you would if it were the only light you had. From this, you’ll have defining shadows on the face which would be lost if the light were on a similar axis to the camera, but you’ll notice that, in a room with no other lighting, it will create deep, dark shadows. Toning down those shadows is the job of the next light.

The Fill Light

The fill is usually two or three stops dimmer than the key light, and its placement is at a near 45-degree angle on the opposite side of the camera, often on a level with the subject’s face. The fill light is a reaction to the key light, and its ultimate placement depends on the function of the fill – what shadows does it create? Where do you need to reduce them for better video production lighting?

The fill light can be the same size as the key light in wattage and bulb size, but you might then place it further away than the key. Watch as the fill drives back the shadows; though the lighting is not nearly as harsh, these two together still present a very two-dimensional view. The job of the third and final light is to create a sense of distance between the subject and the background, giving an illusion of a third dimension on the screen.

The Back Light

The back light, sometimes called a rim or shoulder light, is aimed at the subject’s back, and, like the key light, it is usually 45-degrees off the axis and shines down upon the subject. This creates a bright rim around part of the subject, creating an outline which then appears to separate the shoulders from the background. The back light should be at least as bright as the key, often brighter.

See more on videomaker

Flat Lighting

Because this light is a very flattering light, flat lighting is used primarily in head shots and glamour editorial shots.

Butterfly Lighting

This lighting pattern is usually used in beauty shots when a reflector is added underneath to soften the shadows.

Loop Lighting

Because the light pattern comes from this angle, it creates a more dramatic look with a shadow that falls off the nose pointing down to one side. The subject will have more light on one side of their face. You can use this to your advantage if the subject has a “good” side or a preferred side of their face by lighting that side.

Rembrandt Lighting

Rembrandt is a stronger angle than loop lighting, making it look more dramatic. The more shadow we add to our subject and the more we turn our light away from flat lighting the more dramatic our lighting becomes. It is used heavily in all types of portrait photography including athletes. It is also the type of lighting we used in the video above!

Split Lighting

If flat and loop lighting fills in wrinkles, split lighting will exaggerate them. This lighting pattern is used a lot in athletic portraits just for that purpose. It exaggerates their muscle definition and body features.

See more on slrlounge

Curiosity of photos shows.. the dream of cinema reveals

Posted in Cinema e Fotografia with tags , , , , , , on 5 aprile 2015 by realuca

Photographers see the world differently. On road trips we see ‘stop the car now’ moments that would never draw attention from 99.999% of the population. On a nature walk, we go from standing to laying horizontal on the ground. At airports, in buildings, we notice chairs, patterns and lines. We see literally and abstractly. We see character in peoples faces, wildlife emotion, beautiful bokeh, color, with perspectives that cross the gamut. We see in color and black and white. Photography is a way of observing, absorbing and forever (thanks to digital and photograph restoration) storing a moment.

  • Happiness
  • Feeding the Addiction
  • Solitude
  • “I wish I could do something”
  • Explore
  • Thinking
  • Noticing Details
  • Happy Bubble

See more on lightstalking

“Hey, are you a dreamer? I haven’t seen too many around lately. Things have been tough lately for dreamers. They say dreaming is dead, no one does it anymore. It’s not dead it’s just that it’s been forgotten, removed from our language. Nobody teaches it so nobody knows it exists. The dreamer is banished to obscurity. Well, I’m trying to change all that, and I hope you are too. By dreaming, every day. Dreaming with our hands and dreaming with our minds. Our planet is facing the greatest problems it’s ever faced, ever. So whatever you do, don’t be bored, this is absolutely the most exciting time we could have possibly hoped to be alive. And things are just starting.”

See more on nofilmschool

An Imaginary Conversation Between Two Masters of Painting – UNDERSTANDING THE PAINTING: THE DEATH OF SOCRATES

Posted in Cinema e Fotografia with tags , , , , , , , , , , on 4 aprile 2015 by realuca

We often get too set in our ways and our conversation remains in the same context, which can blind us to seeing the pitfalls we create for ourselves. In general, using other photographers’ aesthetics, judgements, and sensibilities should make us think twice, thrice, … Yet, in the rush of creating the next “noticeable” image on the Web, we use presets, filters, brushes, and a whole lot of them without thinking twice.

In fact, there are sites designed specifically to allow the photographers to apply a collection of filters to have that “different yet very familiar” look, and people go there in droves to mutilate their photographs in an effort to get their 15 seconds of fame and countless “likes”.

Instead of trying to make the same point in the same context, which will be quickly dismissed, below is an imaginary conversation in a different context: two painters talking about the newfangled tools.

Let’s listen… Vincent Van Gogh and Paul Gauguin are chatting…


“Vincent do you feel you are not creative at times, frustrated that others can produce very creative work and you spin your wheel?”

“Well, who doesn’t? But, we keep trying.”

“Wait, there are ways to create highly creative work with little effort, you won’t believe how easy these new add-ons and brush tools are and how creative the results look.”

“Oh, well, go on …”

“Take a look at the creative still life I painted. I started with what you see above, very dull and not creative enough, don’t you think? I even considered adding more texture, like wood, or dried leaves. I think I painted that orange too close to the top edge, but …”

“Get to the point Paul!”

“Then, I remembered reading an ad on the bar wall that promised ‘Amazingly creative results in two easy steps’”

“And you believed that?”

“Sure, look, I got a creative brush tool made by a Frank Talius. It creates amazingly creative wispy things on your painting; you could have used it in your Starry Night, much faster and more creative. It would have taken you days to produce the same effect.”

“Are you serious?”

“But wait, there’s more! I also found out about an add-on canvas that gives you a Monet-like reflection on water of your own painting with ripples no less; no extra work needed and very creative I must add. Look at the result after two easy steps, amazing or what?”

“Are you serious Paul? What do you call this?”

“‘Amazingly creative results in two easy steps.’ What do you think?”

“And, people think I’m crazy?”

See more on petapixel

What can we learn about filmmaking from a piece of Neoclassic art? Well I guess not a whole lot – except for concepts of composition, lighting, blocking and a good sense of art history. Nerdwriter1 digs into this Jacques-Louis David masterpiece.

See more on filmmakeriq

From the magic of Composition to Fibonacci

Posted in Cinema e Fotografia with tags , , , , , , , , , , , , on 28 marzo 2015 by realuca

The quadrant system

You don’t need steady cams or cranes or drones or the latest 4k.
You need top bottom left right

〄 3 6 9 – “If you only knew the magnificence of the 3, 6 and 9, then you would have a key to the universe.” – N.Tesla

Φ = 1,618

No Bad Light for Street Photography / Remember Emotional Impact of colors / 4 Reasons Shooting at Sunrise and Sunset

Posted in Cinema e Fotografia with tags , , , , on 22 marzo 2015 by realuca

  • The key is to use light, any light, to your advantage
  • Nighttime photography
  • Silhouettes
  • Shooting into the bright sun
  • Strong shadows
  • Reflections
  • High contrast situations
  • Dappled light
  • Rainy days
  • Open shade for street portraits
  • Golden and blue hour

See more on digital-photography-school

  • Red = passion and romance or violence and anger
  • Yellow = joy and intelligence or criticism and fear
  • Blue = peace and harmony or fear and depression
  • Orange = confidence and energy or slowness and pain (fire)
  • Purple = royalty and religion or bruised and beaten
  • Green = growth and soothing or envy and greed
  • Black = strong and committed or evil and death
  • White = purity and goodness or cold and distant

See more on picturecorrect

  • Avoid harsh contrast
  • Maintain tones within your camera’s dynamic range
  • Avoid the commonplace
  • Capture the sky at its most vibrant

See more on digital-photography-school

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