Lighting is what can make or break a film. Without the correct use of lighting the shots could be under/cover exposed or not portray the correct meaning the shot was originally meant to give. There are handful of different lighting techniques such as "hard/soft lighting", "warm/cool lighting" and low/high-key lighting"
Hard lighting is created from a single narrow light source. This creates a hard edge on the shadow giving the shadow a clear shape. Hard lighting is great for creating silhouettes for noir films which have a heavy use of shadows to create meaning in their shots. e.g. the use of hard light through venetian blinds to cast the shadows onto walls and actors.
Soft lighting created from several lightings being directed at the subject/set. This creates softer shadows that have more of a fuzz as they blend into the light with a gradient effect. Soft lighting is often used as a fill lighting as it creates little shadows and would be commonly found it sit coms that have a brighter feel to the set.
Using lights of different colour temperatures in film means using lights of different colour in the same shot. As seen in this image below, this has been excellently used by Dr. James Cameron in "Terminator 2" where he mixed the blue and orange as in this scene the terminator is being hit by lights from moonlight (blue) and molten steal (orange). the only issue with mixing colours like this as it's not really possible to change the definition of one light without also effecting the other.
Edge Lighting is commonly found in the studio as well as lots of films, famously in Noir. This technique is used to create a subtle or an obvious "edge" of light on the subject, usually split down the middle of the subject but for magazines and photo shoots it's used have light edge along the jawline.
This is a really simple and easy lighting to do. 90 degrees from the subject to create a shadow on one side of the face and light on the other creating a "split" or "edge" of light on the subject.
Rembrandt Lighting is highly used in studios. This lighting can be achieved in two ways. You can use a single light and a reflector or by using two lights but at different settings and angles (which is what I have done). This technique is popular in the studios because it produces images which appear both natural and fascinating with little equipment
This lighting is hard to achieve, I didn't get the full triangle under the eye. To solve this, I could have spent more time carefully moving the light and subject to achieve the correct lighting.
Butterfly Lighting is one of the oldest techniques for lighting the face of a subject. This technique got its name from the butterfly-shaped shadow it creates under the subject's nose as well giving more definition to the subjects cheekbones.
This lighting was one of the easiest to achieve however the lights weren't able to go up high enough to fully achieve the right lighting and harsh shadows under the nose. To fix this, I would have a light I can move higher up or lower my subject more.
This experimental lighting with the light directly under the subject created harsh shadows over his face with the lights hitting the lower parts of his face and just above his eyes.
Thuis lighting created a more extreme split effect with more of his face cover with the shadow.
This was my favourite lighting as it created a very ominous silhouette of the subject and creating a "heavenly" glow from behind him shinning through his hair.
The issue with this low key lighting is the ISO being high creating a grainy video.
This high key lighting is very easy to create due to the fact it's just natural light. The only issue is with natural light is depending on the weather and time of day, the lighting may not stay consistent and shots may look different in shoots. To solve this I'd take out a light source of my own, a diffuser and reflector to keep the lighting outside consistent.
A small documentary where portability is paramount - Sun light, ring light attached to the camera, small box lights
All of this equipment is small and light making it easy to carry around as you move from location to location for said documentary. The ring light attached to the camera will help keep areas in front of the camera well lit and the small box lights will help light up more shaded areas the the sun can't reach. The only issue with the sun on a bright day is as you move from shade into sun light it can make keeping the light exposure levels consistent and can cause people on screen to squint. to help resolve this, you could either keep to shaded areas, have the people on camera face side on from the sun so they don't squint or plan ahead and shoot on a cloudy day or when the sun is at a high point in the sky which would keep the lighting consistent and away from eyes.
Talking head style interview - Full studio soft box lighting kit -
This lighting is what is used in the majority of head style interviews as the subject usually stays in the same spot. This will mean you wouldn't have to move heavy equipment around and the lighting and exposure levels would stay consistent throughout the shoot.
A night time shoot - Natural lighting (cities) and ring lights.
I would choose this equipment for a night time shoot as the ring lights will help keep what's in front of the camera stay well light in dark areas whilst also keeping the "night time feel". I would also use natural lighting from the cities as unless you're walking around into unlit areas at night the exposure levels and lighting would stay fairly consistent throughout the shoot.
1. Hitchman, S. (2013 http://www.newwavefilm.com/international/american-new-wave-1.shtml) A History of American New Wave Cinema
2. Saporito, J. (2016 http://screenprism.com/insights/article/the-filmmakers-handbook-what-is-the-new-hollywood-movement) What was the New Hollywood movement? 3. Jordan, S. (2018 http://facets.org/blog/exclusive/lists/essentials/the-new-perspectives-in-the-american-new-wave/) The New Perspectives In The American New Wave
4. Esterkamp, J. (2014 https://medium.com/@jtesterkamp/new-hollywood-why-the-70s-were-the-greatest-decade-in-america-cinema-c42676e2170f) Why The 70's Were The Greatest Decade In American Cinema
5. IMDB (https://www.imdb.com/title/tt0064276/trivia?ref_=tt_ql_2) Easy Rider (1969) Trivia
6. Highton, S. (https://www.vrphotography.com/data/pages/askexperts/basics/pointatsun.html) Ask The VR Photography Experts 7. Zoons, A. (https://amylaurenzoons.wordpress.com/2013/03/09/how-taxi-driver-defied-traditional-hollywood-and-exemplified-the-new-hollywood/) How Taxi Driver Defied Traditional Hollywood and Exemplified the New Hollywood 8. Jacobs, D. (1977 Hollywood Renaissance) Page 146
The style of French new wave film/cinema Wiegand, C. (2001 p. 7) French New Wave. Pocket Essentials: Harpenden "The look of the New Wave films also owed much to two other factors: the new equipment used by the directors and the low budgets they were forced to work with. Because mobile cameras were used and much of the film-making equipment was improvised, the pictures have a spontaneous and unpredictable nature." (Wiegand 2001) Parnell, L (2016 https://theculturetrip.com/europe/france/articles/the-french-new-wave-revolutionising-cinema/) The French New Wave: Revolutionising Cinema "The French New Wave was a group of trailblazing directors who exploded onto the film scene in the late 1950s; revolutionising cinematic conventions by marrying the rapid cuts of Hollywood with philosophical trends." (Parnell 2016)
Shutter Speed:
Shutter speed is the length of time your camera shutter is open for, exposing light onto the camera sensor.
When you use a long shutter speed, you end up exposing your sensor for a significant period of time. The first big effect of shutter speed is motion blur. If your shutter speed is long, moving subjects in your photo/video will appear blurred along with the direction of motion.
ISO: In very basic terms, ISO is simply a camera setting that will brighten or darken a photo. As you increase your ISO number, your photos will grow progressively brighter. For that reason, ISO is a good tool to help you capture images in dark environments or be more flexible about your aperture and shutter speed settings. However, raising your ISO has consequences. A photo taken at too high of an ISO will show a lot of grain, also known as noise, and might not be usable. So, brightening a photo via ISO is always a trade-off. You should only raise your ISO when you are unable to brighten the photo via shutter speed or aperture instead (for example, if using a longer shutter speed would cause your subject to be blurry).
Aperture: Aperture is a hole within a lens, through which light travels into the camera body. It is an easy concept to understand if you just think about how your eyes work. As you move between bright and dark environments, the iris in your eyes either expands or shrinks, controlling the size of your pupil. In photography, the “pupil” of your lens is called your aperture. You can shrink or enlarge the size of the aperture to allow more or less light to reach your camera sensor. Aperture has several effects on your photographs. One of the most important is the brightness, or exposure, of your images. As aperture changes in size, it alters the overall amount of light that reaches your camera sensor – and therefore the brightness of your image. A large aperture (a wide opening) will pass a lot of light, resulting in a brighter photograph. A small aperture does just the opposite, making a photo darker.
The other critical effect of aperture is something known as depth of field. The depth of field is the amount of your photograph that appears sharp from front to back. Some images have a “thin” or “shallow” depth of field, where the background is completely out of focus. Other images have a “large” or “deep” depth of field, where both the foreground and background are sharp.
My first outdoors attempt. Doing a pull focus shot starting from the left wall and finishing on the roof to the right. ISO of 400 due to the shade and a smaller aperture to allow less light on from the wall and roof.
These next to videos are another pull focus in the graveyard. I feel as the videos are overexposed and more grainy with the 400 ISO but also went underexposed with a 200 ISO and I found it difficult to focus from the front grave to the back due to the change in light.
These next two videos are of the same angle but the first is overexposed with a 1600 ISO and the second is underexposed with a 400 ISO. I personally prefer the second video as the low ISO gives the video low-key lighting and has more of a horror effect to it.
The results of this experiment were as expected. The camera shutter speed at 1/30 had more motion blur than the one at 1/250. The only thing I would have changed is for the last train to be going at the same speed as the first two for a more fair comparison.
As you can tell this video is massively underexposed due to the low ISO with extremely poor lighting as I was using indoor lights as my video lighting
With the ISO of 1600, the wall is more visible but the with the light being indoors, the inside of the building starts to become washed out with the light.
This is outside with the camera facing away from the building. Anything below 1600 was pure black on the screen. the best result came from the ISO at 6400 but the video became grainy. To help resolve this issue I would have used better lighting with a lower ISO
With the F stop at 16, the subject (the bench) is in focus where the background (the wall and trees) are slightly out of focus so the depth of field is relatively shallow
With the F stop at 22 everything in this shot is in focus as the depth of field is deep. However, the subjects light exposure is a lot less than the backgrounds causing the subject to be much darker and a little grainy. This could be fixed with a light source aimed at the subject to help balance out this light exposure
With the F stop at 4 (the lens wouldn't go down to 2.8), the subject is clearly in focus whereas the background is entirely blurred out with just smudges of the colours blending together.
The scene starts with a medium four shot of the group - 2 men and 2 women all late 20s early 30s. This scene was shot with a 16mm camera giving it a grainy dirty look. This depicts the grubby lifestyle and situation they are currently in, drinking, smoking and taking acid in a cemetery. This scene is heavily accompanied by the sound of machinery making their dialogue almost inaudible. This scene is shot in a linear style with the same camera angle until the group take the acid tabs. Once their acid tabs settle into their systems we cut to a low angle shot of an old rundown build with the hand half camera slowly panning from left to right soaking the scene in lens flairs as a religious speaker talks about heaven. Heaven is usually depicted as a blinding white light when you die which matched the lens flairs and dialogue on in this scene. During this highly experimental stage, the director and camera crew begin to break standard filming rules that were set during the time of their filming like zooming directly into the sun. This is all done to remind the audience their watching a film rather than immersing them into it. The use of relatively fast pace editing, the non linear scenes going forward and backwards in time repeatedly within a small amount of time is supposed to represent the acid trip the group is on and give the audience the confusion and the disturbance of this acid trip that the group themselves would feel. As the cast of this production actually took acid for this scene everything that happens in unscripted making this acid trip and the actions of the cast that more authentic.
Hard lighting is created from a single narrow light source. This creates a hard edge on the shadow giving the shadow a clear shape. Hard lighting is great for creating silhouettes for noir films which have a heavy use of shadows to create meaning in their shots. e.g. the use of hard light through venetian blinds to cast the shadows onto walls and actors. 
