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SAE Magazine 13-3

ect’s face may appear un- ant cumulonimbus are rich ’s brightness. It is a prod- nd its efficiency that can be ou want to use the bright- enquire about its wattage ens it produces. t rated at 150 watts may watt while an off-the-shelf only be rated at 16 lumens eally bright light, then you o renting a hydrargyrum with an output of about have probably seen these field. eststhemoodofthescene, ocation. It also models the nging out their shape and obscuring shape and tex- lights can also be used to of the scene. If you are shooting a scene at the breakfast table with the kids still in their pyjamas, it would make sense to have the light streaming in low from the room’s windows. And at dinner-time, from the win- dows on the other side of the room. If you want a spooky light, an extreme low or high angle cast on your actor’s face might help to achieve the effect you are after. Think of the basement scene in Hitchcock’s Psycho film. While you are lighting your actors, take into con- sideration their eyes; are they lackluster and dull? Then give them a bright reflection – a catch light. It is unusual to see a professionally lit actor who is not lit with this ‘spark of life’. Colour temperature Different light sources give out different colour tem- peratures. This is not a reference to the sort of tem- perature that makes you want to put your coat on (or take it off) – it is a reference to the fact that if you heat up a piece of iron, it will turn from black to red to yellow then to various shades of blue. Tungsten lights have a colour temperature of about 3,200 Degrees Kelvin (named eponymously after INDEX Photo: Leal Butler (SAE Auckland) Sam Kiwan (author)Leal Butler (author)

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