For this project I decided to look up several lighting setups, both for photography and film as they all produce similar effects;
Short lighting
(Author; Tim Solley http://www.flickr.com/photos/captainquin/917445774/)
Short lighting creates a soft shadowed effect only partially lighting the face, whilst in photography this makes for a fairly attractive shot due to the softness dulling down the ugly features, however, in film this may create a shifty character lurking in the shadows, nonetheless, you can use this setup to differing effects, as with the image above is fairly dark and shifty filmic characteristics, but you could have a lit background completely transforming the setup giving the character soft attractive lighting without the mysteriousness of emerging from the shadows, blending into the background.
Broad lighting;
This is a very similar setup instead lighting a greater area of the face with the character looking away from the light source rather then into it. Again you can alter the effect, it can be subtle, looking like an ordinary lit face or you can exaggerate the shadows on the opposite side of the face.
Rembrandt;
Rembrandt lighting refers back to a revolutionary traditionalist Dutch painter from the 1600's, his new style of painting intentionally placed shadow onto the centre of the face, if we imagine broad is one side of the face lit and short is the opposite, with rembrandt light is on both sides of the face as it spills onto the opposite side but without loosing the shadows, creating a very dramatic effect that creates great depth that emphasises the texture. It is this technique that I want to utilise within the tenseist moments of the film.
All lighting setups are open to experimentation however, getting out lights and seeing what effects you can create is the best way.
Short lighting
(Author; Tim Solley http://www.flickr.com/photos/captainquin/917445774/)
Short lighting creates a soft shadowed effect only partially lighting the face, whilst in photography this makes for a fairly attractive shot due to the softness dulling down the ugly features, however, in film this may create a shifty character lurking in the shadows, nonetheless, you can use this setup to differing effects, as with the image above is fairly dark and shifty filmic characteristics, but you could have a lit background completely transforming the setup giving the character soft attractive lighting without the mysteriousness of emerging from the shadows, blending into the background.
Broad lighting;
This is a very similar setup instead lighting a greater area of the face with the character looking away from the light source rather then into it. Again you can alter the effect, it can be subtle, looking like an ordinary lit face or you can exaggerate the shadows on the opposite side of the face.
Rembrandt;
These lighting techniques whilst applicable to film lighting are designed for photography, using some of these setups the character would have to have quite controlled movement so as not to ruin the effect.
In studio based film the standard lighting setup is three point lighting, which more or less guarantees a good outcome, giving the face shape, texture, depth and distinguishing the character from the background.
All lighting setups are open to experimentation however, getting out lights and seeing what effects you can create is the best way.
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