SAE Magazine 13-3

INDEX ink twice before placing a hem. You would probably emphasise their scars and y be inclined to do the op- he production’s femme fa- on our planet is the sun. m the source (the sun) on- hard light, and it creates shadows. But if the light hrough clouds, the clouds ecome softer. a cloudless day can be atographers will often set ad silks for their actors to h conditions. news were lit like a vintage Maltese Falcon had been mercial. The effects would tor of photography works ’s director and production aintain (or alter) the mood d to work in the shadows, e draw of a film’s stars and s an evocative phrase – it quality of lighting. We may or Liam Neeson, or even Nolan. But it is no coin- r Nolan has worked with his Batman collaborations. Wally who you ask? Wally Pfister – the Director of Photography. He is the guy who knows how to get the look that Nolan’s after. Just as Janusz Kamin- ski’s worked to give Steven Spielberg the look he was after for all of his movies from Schindler’s List through to Lincoln. n Using an electronic light meter To correctly expose your subject, a light me- ter – one of those devices with the small white dome at the top — can be a very useful tool. If you are shooting video at 25FPS, set the me- ter’s time to 1/50 and match the meter’s ISO to the ISO on your camera. Then hold the meter so that the dome is next to the subject, pointing at the camera and in the light you are metering for, and then press the measuring button. The meter will display the correct f/stop for your lens. This is known as an incident light reading. Author Profiles: Sam Kiwan earned his Master’s Degree in Film at Bond University and has been the Team Leader of SAE Auckland’s Film Department since 2006. Leal Butler is a graduate of California’s Pa- cific Conservatory of the Performing Arts, and he has been supervising and lecturing at SAE Auckland since 2008. n INFOBOX A Minolta branded Light Meter. Photos:LealButler(SAEAuckland)

SAE Magazine 13-3

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