Types of Lighting

Three-Point Lighting: This is the most basic lighting setup. It consists of key light, fill light and backlight. The key light aims directly at the subject (most likely the main character or object in the shot) and is the brightest light source for the shot. The fill light is a softer light and is usually placed opposite the key light; the fill light cuts down on shadows created by the bright key light. The backlight shines behind the subject separating him from the background so the sense of depth is made in the shot.

Fill Light: It's used for reducing the contrast of a scene to match the dynamic range of the recording media and record the same amount of detail typically seen by eye in average lighting and considered normal. From that baseline of normality using more or less fill will make shadows seen darker or lighter than normal which will cause the viewer to react differently by inferring both environmental and mood clues from the tone of the shadows. So fill light is used to eliminate or soften shadows caused by the main source of illumination.

High-key Lighting: When cinematographers use a high proportion of fill light to key light it's called high-key. The effect is both brighter and more even than when they use a low proportion of fill to key light, low-key. High-key is often used in comedies and musicals to enhance a sense of livelinliness or in dramatic scenes to emphasize the intensity of the situation.

Low-key Lighting: The lower the key light the shadower the effect. The shadows created work well in mysteries and horror films; such lightning has become a convention of those genres.

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Critical Question 2

How does my product engage with my audience? Well firstly it’s important to find out what my audience is. They are people who are very likely to enjoy the thriller genre films and their age somewhere between the teen age and early 30’s, possibly middle class people because they can understand the pain which main character feels. The main character is fully in debt and the stranger who he meets in a café gives him an offer to murder someone so he’ll be paid enough money to return the debt. Many people who will watch this will ask very deep questions like ‘’What would I do on his place if I had debts too?’’. And also there are thriller fans of the same age as above described people. These are the category which use the film watching to feel the tension, the people found out the Fincher-style thrillers which give the cliffhangers and the viewers wonder what will happen next. These people don’t watch these films because they reflect their personal life problems but are made in the genre th

How to Make a Good Villain

Villains are important characters in plot because they drive the conflict and they capture the viewer's attention. A villain is the opposite of a hero. A villain is the antagonist of your story whose motivations and actions oppose the protagonist and drive the plot of your story. A villain is the opposite of a hero. In contrast to the hero, a villain is usually compelled by a desire to commit acts of cruelty and immorality. Every great hero needs a great villain. Villains are the antagonistic force of your story that challenges your hero and drives the action. Most great villains share a common set of characteristics: 1) Strong connection to the hero . The best villains are inextricably connected to the hero, and aid in the hero’s character development through their inherent opposition to them. For example, in the Harry Potter series, Lord Voldemort murdered Harry Potter’s parents when he was a child, leaving behind a magical scar on Harry’s forehead intrinsically connects th

Cinemascope

Cinemascope is an anamorphic process that compresses an image during filming and uncompresses it when projected. The process involves squeezing a wide image onto 35mm film so that it fits the physical celluloid's square frame. With the help of anamorphic projection lenses, this image is then unsqueezed, allowing for the full width of the image to be displayed. In the early days of cinema, French inventor Henri Chretien created and patented an anamorphic lens that could be used for motion pictures. However, back in the 1920's and 1930's, no one was really interested. That all changed in early 1950's, when motive studios were losing their audience to the rise of television. It was convenient, could be enjoyed at home and provided the same entertainment value as movies. However, in 1952, ''This Is Cinerama'', which displayed a widescreen image with three cameras and three projectors was becoming a smash hit across the country, albeit in limited theatres.

Andrii Azarchenko

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