CC BY
85Principles and methods of filmmaking
I.Melikuziev, Uzbekistan state institute of art and culture
Abstract - This article is devoted to the problems of creating a visual image and solving the issues of artificial and natural lighting when shooting a film by a camera operator.
Keywords - cameraman, film director, film critic, character, light, camera angle, staging, image, plastic, rhythm, composition, montage, script and method.
Introduction
Cinema is a mysterious world of creativity that grows the beauty in the soul of a person. For almost a hundred years, in our country this art has trained its great masters and outstanding examples of creativity. Cinema, covering all arts, began to show the viewer a new world through images. A cameraman, along with a scriptwriter and director, entered the creative arena as a creator for the full implementation of this art.
Image lighting: Image lighting is the illumination of the artificial or natural movements of objects of various shapes. Lighting allows performing artistic and technical tasks on photosensitive materials, on the surface of objects with various linear forms, shapes, colors and their flights, as well as on the textures of their surface using light rays and correctly performed exposure metering.
Lighting features: Depending on the light pattern, the lighting that is used in the shooting is divided into two types: light-and-dark and black-and-white, and glare.
Light-and-dark and black-and-white lighting: At light-and-dark and black-and-white lighting, directional light is lightened to the subject, the rays of which fall on the elements (parts) of the object at equal angles. The difference in the volume and shapes of parts and objects of the image, shot mainly due to the visual perception of the illumination of these elements, depends on the relativity of multidirectional rays of light, as well as the difference in the light gain of the parts (elements). The smooth surface of the
subject is obtained due to good shooting. The color (color flights) of some subjects gives the cameraman an additional opportunity, if necessary, to better reproduce reality.
Primary directional light: The main directional lighting (visual lighting, imaging lighting) is directed to important parts of the plot and, often, to the actor's face in the shot. Usually, lighting is performed using directional light and constantly accompanies the movement of the hero (character) in all its phases. When a certain lighting effect is achieved, the directional light can fall on certain parts of the subject (for example, on certain parts of the face). The amount of lighting in this case does not change.
Lighting efficiency of the main directional light depending on various positions of impact
In many cases, the main directional light is lightened to the subject slightly from the side and relative to the optical axis of the camera from above at an angle of 30-60 degrees. It is at this angle that the light-and-dark and black-and-white lighting of directional light falls on individual parts of the subject. Usually, a single light is used to provide the main directional light, which helps to prevent splitting of the shadow lines.
When changing the master shot or a certain position of the actor, several lighting devices are used when shooting. Basically, during directional lighting, depending of the lighting distance, lighting devices with parallel directed light beams, cinema projectors (lamps) with Fresnel lenses, and also diffused lighting
equipment are used. Lighting volume is the primary volume for measuring the exposure control of the divided illumination of the main directional light, which is sometimes called the decisive point. When shooting in nature, the sun is a source of directional light.
Fill lighting: Fill lighting (exposure lighting) is used to uniformly lighting the subject.
Fill lighting allows lighting to some extent the place of shooting, makes it possible to achieve the necessary and satisfactory result when working with parts, as well as to display the color and details of the shot object. The main volume of light rays of the lighting equipment is used as fill lighting and is located approximately parallel to the optical axis of the camera. At the same time, there are deviations from the above direction, since the fill lighting does not give a visible shadow (blackness). In most cases, when black-and-white lighting is used, fill lighting is not required. To create fill lighting, lighting equipment with filler light is used.
One type of filler light is the overhead lighting, which is usually used for large-scale stage sets, that is, to reproduce picturesque sets. The task of the overhead light is lighting the space of a picturesque decoration and objects of the master shot. Glass bulbs and directional, widely spaced elongated halogen bulbs are often used to provide overhead lighting.
Modeling lighting relatively illuminates the shadow side of the object, and is obtained with the help of glare and color flights when creating the desired color and light density. For modeling lighting, projectors with Fresnel lenses are mainly used.
Linear (back) lighting for filming is made from the backside and overhead, and usually smoothes the bounder lines of the object's details; in turn, they are in front of the main background and complement the merging of color and color flights.
Lighting that falls on the subject from its back may be two or three times larger than the main directional lighting. For backlighting, mainly projectors with Fresnel lenses are used, and for distant lighting special counter-light projectors are used.
The main lighting, at the same time, evenly
distributes light on the illuminated surface, the rear curtains and walls of the stage. To light the main color, diffused lighting equipment is used, and for distant lighting, projectors with Fresnel lenses or glassed tube lighting equipment is used. Effective lighting equipment is used to create the necessary shape and color flights on the scenery (stage sets) and objects of shooting. Density and color are usually used to enhance the effect of off-screen approximate motion as a light source.
To obtain effective lighting projectors with Fresnel lenses are used. When shooting, it is not necessary to use all of the above lighting methods. In many cases, it is sufficient to use two or three lighting methods. To create lighting with color flights, one filling lighting equipment is enough. In some cases, one or more lighting equipment has high lighting performance and is a source of, for example, filler and filling, as well as the main directional and, finally, effective lighting.
When shooting in nature and in natural sets, artificial lighting is usually applied which is used as filler lighting, and at the same time reduces the shadow of the subject and lack of light.
Exposure filming method: A film negative is well copied and correctly exposed if the paleness interval of the captured image of the heroes' faces does not exceed 0.8-1.0 in an optically dense area. The density of shadow and light is important for the plot, and should not go beyond the features of the negative film curve, conventionally perceived as a straight line.
To obtain the optical density of a human face in a selected area, with a reflection coefficient of 0.3, a good projection of a photosensitive negative film C and an image shot O, the amount of light fallen onto the surface of the relative aperture of the camera opening at an open angle of the shutter with an effective object is determined by the following ratio:
3 06 -95000 <I> ii : 3
aC
When the image capture speed is 24 - 25 shots per second, with an open angle of the shutter 160-180°C, there will be the following formula:
E 06- 13400 a 2 '3
c
The above formula is the result of a theoretical sum of the calculations of many cameramen, obtained by checking them and studying their studies of the film making. The safety margin in this formula is 1.5 - 2. Based on this formula, the following table is compiled. Here, it is possible that the direction that is not horizontally lying or directly descending is chosen, but rather the value of the fallen light perpendicular to the maximum surface reception of light is given which, in turn, is directed to the lighting equipment which results in key lighting.
Exposure control of lighting during filming: The main requirement for filming is the fact that during the entire film, when reproducing the image of the face of each character, it is necessary to maintain a constant density. This requirement applies to all events of the film, when changing ("day" or "night" light expressed by lighting), regardless of the plot being lit, only the general contrasting side of the lighting changes, while for light, area, and also for the depth of shadows, it is necessary to take into account lighting distribution. When applying the method of the main directional key lighting on the face no changes should occur even in the smallest area.
It is notable that in some cases, the use of the special effective lighting method can lead to a decrease in the image density of the face on the negative, sometimes to a decrease in the density to the level of the tape veil or, for example, to obtain a clear image shade.
It is natural that a darkish or made-up shade of a person's skin means a decrease in density on the negative, even when shooting with artificial lighting with simultaneous exposure control: obtaining a white face color means that measures taken to constantly ensure the amount of lighting chosen by the operator for that person.
The degree of lighting and illumination of the set or its parts is determined by the camera operator based on his personal opinion and requirements, taking into account the possible use of the footage in the future, as well as ensuring the lighting and maintaining the light
balance of the set, is assigned to the camera operator.
During filming in natural light, sometimes there is a noticeable change in the lighting of the subject or the control of the light level. Based on the control of the light level, changes are made to the relative aperture of the lens.
Filming in nature: When filming in nature, regardless of the use of color or black-and-white film, the light plays a major role for the graphic expression of the design. When shooting on color film, the change between incident light, shadow and color performs the main task of colorizing the image. Before starting filming in nature, the camera operator must take into account the variability of natural light and find technological solutions to this issue.
When considering filming technology, the camera operator should be well acquainted with the theory of the lighting types have been applied and is applied in photography (main, background, modeling, filling, and back).
When filming in nature using color film, regardless of the change in shooting direction, the principles of shadow and color should be preserved. So, if the color sequence does not correspond to the plans during the filming, one will have give up even beautiful landscapes.
The features of natural light are expressed not only in its color, directness or softness, but also in other properties, for example:
1) The upper location of the sun makes it possible to increase the different scale of view shot at one object.
2) In natural light, the interaction between the realism and simplicity of the color of lighting is clearly expressed in the transition between shadow and light.
The realism of these colors between shadow and light enhances the naturalness of the image. Through a slight change in the interaction of these colors, shooting can be given a visual accent.
3) Change in lighting and color solutions occurs by changing the direction of shooting individual shots.
4) The sky covered with smoke or light helps to the diffusion of light, and thereby makes it possible to change the direction of shooting.
5) Clouds in the sky not only change the color of lighting, but also adapt the expression of the background to the foreground object.
Lighting, both natural and artificial, is determined by type: main, filling, background, modeling, and back. [2, 46-p].
Main light: This lighting is directed to the subject as the main light. Using this light, the shape of the object is shown and a color accent is created. In accordance with the shooting line, the main light is placed in different directions, that is, front light, lateral, anterolateral, posterolateral and backlight. Depending on the height and lowness of the light placement, it is also called main upper and main lower light.
Under natural conditions, when shooting with main light, the sun's rays fall on the subject directly or through the clouds as diffused. Main light has natural variability. For example: its color changes depending on the state of the atmosphere, the location of the sun relative to the horizon and depending on the area of emission around the sun.
With an increase in the volume and density of smoke in the air, this emission area expands, that is, we see it in such an image, and the sharpness of the shadow outline increases or decreases depending on the color and directness of the fallen light.
Fill light: Fill light is a type of light that illuminates areas of an object with insufficient lighting, which should not leave a sharp shadow. During the filming in nature, filling light is formed mainly due to the blueness of the sky and clouds reflecting the sun's rays; and also, fill light occurs due to the reflection of light falling on the surface of the earth and on the surface of all objects on the earth.
That is why, in some cases, when filming there are insignificant changes in the color of lighting reflected by the sky and earth.
Modeling light: With the help of this light, the shape, color and change in the tonal perspective of the object are fully revealed. When filming in nature, modeling light is created using additional lighting and reflective devices.
When transmitting modeling light using artificial illuminators, the color of the lighting is created using additional light filters. And in
cases of creating modeling light by natural light using light reflectors, it is advisable to use color reflectors.
Backlight: The purpose of using backlight is to highlight the foreground object from the background, and also, if there is smoke or natural fog on the set, backlight is used to give a certain character and reveal the perspective of the background. When filming in nature backlight is created, in rare cases, using artificial lighting; Backlight is mainly created using sunlight.
Background light: Cameramen use background light in combination with the color of the illumination of the object and background. Under natural conditions, the background light is the light of the sky or the rays of the sun creating an immediate shadow. When shooting under the natural conditions of a cloudy sky, in some images, the background color becomes color, compared with the foreground.
Features of natural light: Natural light is generated from the following three types of multicolored light rays: 1) direct sunlight, 2) a diffused ray passing through clouds and air haze, 3) diffused rays of the sun reflected by a blue sky. The combination of these rays of light gives us natural light of different characteristics. As mentioned above, natural light consists of two colors: the direct white rays of the sun and the bluish light of the sunlight reflected by the blue sky.
Filming in the morning: Morning is the most suitable time for color filming. In the morning, the shadows have a clear expression and create an airy nodal perspective at a short distance from the ground. Due to the increase in direct horizontal main light, an increase in color rays on the surface of the earth is also expected. The morning haze of air combines colors and creates a bluish or reddish-blue color. If one pays attention to the movie events shot at an angle of 25-30 degrees to the horizon, he/she can see that they have a warmer image and a golden yellow color. The higher the sun rises from the horizon, the brighter the image becomes.
Filming at noon: When the sun reaches the highest point above the horizon, the temperature of the earth rises and the haze gradually
disappears. At this time, soft light is replaced by daylight contrast light.
At the same time, the interval between the shadow and the light increases, the upper part of the object is illuminated, and the lower part becomes invisible in the shadow. Simultaneously, the color of the light changes dramatically.
In order to prevent interference with the actor's eyes, when filming in the daytime, the cameraman uses the sun as backlight, the shape of which is illuminated by reflected lighting. When using sunlight from the front or side, the cameraman uses certain fabrics to soften the shadow and gets a positive result. [2, 75-p].
Filming in the forest: As there is not enough light in the forest at the beginning and at the end of the day, the most convenient time for filming in the forest is noontime. When color filming in clear summer weather in the forest, sometimes, there is a clear lack of light. In such cases, the cameraman is forced to increase the exposure. During color filming in the forest, forest paths and visible sites of the sky greatly help the cameraman. To get the best result, since it is easy to use light reflectors there, it is advisable to choose the forest edge.
Filming in the cloudy weather: In cloudy weather, the sharpness of light decreases and its softness increases. As the density of clouds increases, the colors of different types of lighting (main and filling light, and etc.) run into one another. The interval of light is reduced and the same light is distributed everywhere. In cloudy weather, the emission intensity and color of the beam increases. For example, a yellow ray is divided into dark yellow and even red. Therefore, when the sky is covered with dense clouds, the color of the beam will change from bluish-gray to violet-red.
Conclusion
The art of a cameraman is the ability to skillfully apply different and complex techniques in the filming and in art. Modern technical means of the camera operator are intended for practical filming of the staging of the idea and image given in the script.
Along with this, a deep knowledge of the filming technique is used to make the best use of its capabilities in finding solutions for dramatic and visual tasks.
Particular attention is paid to the filming points of the operator, the choice and determination of the focus distance. During filming, the patterns of changing the contrast of the rays' distribution as a result of illumination of the subject are also considered. It is also important to note that it is necessary to pay attention to the imbalance and proportions of light and shadow that arose not as a result of the personification from the general contrast falling on the object, but from the lighting of details.
References
[1] A.I. Ismailov, The cinematographic art, Textbook, Tashkent, 2004
[2] I.M. Melikuziev, Cinematographic work (formation and development of art photography), Textbook, Tashkent, 2018
[3] M.N.Ismailov, I.M.Melikuziev, Methodology for determining the time and exposure condition using a photo exposure meter, Teaching aid, Tashkent, 2007
[4] I.M. Melikuziev, The method of multicamera shooting, Teaching aid, Tashkent, 2009
[5] A.I.Ismailov, I.M.Melikuziev, Technical and creative possibilities of a camera, Textbook, Tashkent, 2009
