Art Adams keeps writing stuff other won't have to write... :)

[Gunleik Groven]

Maybe of some interest for some:

http://www.dvinfo.net/article/acquisition/my-first-lighting-class-or-how-i-learned-to-light.html

 

[Joachim Hoge]

Thanks for the link Gunleik. Nice read

 

[Bob Gundu]

Fantastic insight.

 

[Matt W.]

Interesting that he mentions lighting an interior for night, twilight, noon, sunrise, sunset, etc.

Would be very cool to have someone mock up diagrams for lighting locations and sets naturalistically to emulate each of those times of day. Taking set dressing (greens outside and curtains inside if needed) into account and throwing in different possible approaches. No "style" just a starting point. How soft, how hard, how many sources, how to add/subtract contrast. Just a starting point for day interiors.

 

[Gunleik Groven]

Art is a hero for me, because he keeps on writing and sharing.

 

[Eric M Hurt]

Would be very cool to have someone mock up diagrams for lighting locations and sets naturalistically to emulate each of those times of day. Taking set dressing (greens outside and curtains inside if needed) into account and throwing in different possible approaches. No "style" just a starting point. How soft, how hard, how many sources, how to add/subtract contrast. Just a starting point for day interiors.

I actually think one of his main points is that the "starting point" is a moving target, and in fact doesn't exist in a vacuum.
One has to work with the tools they have and the space they are shooting in, but more importantly a cinematographer has to consider the script first.

The tools that will certainly be on the table for daylight scenes are daylight balanced lights along with various gels and methods to diffuse the light, but IMO that's where the starting point (tool wise) stops and the script takes over. Time of day may be considered, but there have been many detective shows where there always seems to be a low setting sun blasting through horizontal blinds in the office, even if they have just come from a shot that shows it's the middle of the day outside. In that case the "Mood" of the show has taken precedence, and it very much works.

The mood of the script, the action, the individual scene that's being shot, the genre, everything, should all be considered when choosing how to light that particular day scene. Perhaps it's one shaft of light that the actors move in and out of, the rest of the room falling off into darkness to create mystery and drama. Maybe it's an overexposed window that frames the action of two lovers, silhouetted in the brightness. One light, or eight lights, there is no real set up that's a basic "starting point" IMO.

I think that making bold choices with the lighting is one of the best ways to learn. Make sure to know the basics inside and out and then break the rules.