WEEK V
Lighting exercise: making a lighting map
Points to note
Harsh, intense lighting to get the vivid green light
The light is coming from below her, so that the top of her head can be shrouded in shadow.
The right side of the frame is noticeably brighter than the left, suggesting there is another light coming from the right corner
The lack of green lighting on the rest of the surroundings suggests that Evelyn is masked onto the background, rather than being there in real life.
Cool lighting to create a scary atmosphere
Low-key lighting - lots of shadows to emphasise Evelyn's facial expressions
Surreal lighting - the green light does not exist in the film, and it plays into the film's abstract and experimental nature.
Noir lighting in an intense scene.
Points to note:
Waymond seems to be completely lighted by items that are diegetic to the scene: the computer, the door and the red light.
The door provides intense backlighting, that makes him stand out from the background.
The light from the computer is lighting up the right side of his face, and is the light that is seen on his clothing as well.
The red light does not noticeably light Waymond up, but brings more attention to the background.
Mainly uses cool, white/blue-ish lighting that is very low-key, as it creates lots of shadows on his face
The lighting is all motivated as they exist in the scene.
Noir lighting as it foreshadows the largest climax in the film.
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Everything Everwhere All At Once
Collective
Invention
Scene Thirteen of Collective invention - Sangwon sitting in the editing office.
The lighting appears to be partially motivated and partially surreal: the green light on the wall (that is seen in this screengrab) serves as a keylight that illuminates the left side of his face, and shrouds the right side in shadows
This creates low-key lighting, to reflect the intense conversation that will commense in the scene.
There appears to be another light overhead that is casting light on the top of Sangwon's head, and on the table. It could be a natural light existing in the scene, or an artificial light, which would make it surreal. This light is hidden by the camera angle.
Lighting map
Between the shots, lights do not appear to have to be moved around.
The key light that puts shadow on Sang-won is still present.
However, it appears as if there is another light coming from below Sang-won, on the other side of his face. It serves as a fill light, where it softens the shadows on his face.
Dong-sik appears to be illuminated by a similarly intense light on the other wall.
The overhead light seems to be within the scene, as seen through the top of the screen grab.
The intensity of the scene, and the prevalence of the shadows renders this low-key lighting, with motivated lights.
Both scenes are very cool-toned, with the green lighting.