Archive for April, 2014

Photo Observation – Max Cerci

1) 4/20/14 2:00pm @ My Grandmother’s House

2) The fluorescent color of the ceiling light being affected by the fan just below it.

3) I always thought that it was strange the way the lights in the ceiling were directly over the ceiling fan as if the fan was an afterthought. I finally realized why they usually but the lights as part of the fan, below the propellers when I felt myself getting annoyed by the constant shadows of the fans propellers passing the light and creating an almost rhythmic appearance of a shadow. At first I was very excited about this lighting moment but found it to get extremely annoying after a few minutes.

Light Observation #11

1. Colonial Square middle gate, Saturday, April 19, 10:00 PM

2. Light from the flood lights on the building is hitting a blossoming tree outside of my dorm.

3. Earlier that day I had noted how lovely the sunlight looked filtering through the pink blossoms. Now it was much later at night, and the scene was completely different. The sky was a deep blue/black and amber/orange light from the floodlights on the building filtered through the branches instead. The tree itself looked menacing, and the blossoms were no longer the pink blush but instead a sickly and dim orange. It was a completely different scene that was chilling and beautiful at the same time.

Photo Observation #11

amusement

 

http://i.dailymail.co.uk/i/pix/tm/2008/11/stokholm2DM811_428x269_to_468x312.jpg

3. Amusement

4. Though I’m sure I’m not the first person to think of an amusement park for this assignment, I think that this fits the theme perfectly. The sun setting in the background signifies the end of a beautiful day. The lights on the ride are just starting to come on, bringing the fun of the day into the later hours. I think that the colors on ride and in the sky behind it are fun and lovely, giving an amusing atmosphere to the picture.

Amusement Lighting Key

 

Light Lab

1) Fall Sunset in Vermont

Screen Shot 2014-04-17 at 10.26.43 AM

When I first think of fall, I immediately think of apple picking and all of the colorful leaves falling off the trees. Thus, a fall sunset to me indicates the yellow, orange, and red variations that we can see in fall leaves when they change for the season. There is also an incredibly impeccable brightness that compliments the sky when the sun sets. I used warm colors including red, yellow, and orange that, to me, emulate those qualities.

Top Cyc Lights:

-AP6400 Pilsner Yellow 75%
-R11 Light Straw 25%
-R23 Orange 75%

Bottom Cyc Lights:

-L789 Blood Red 25%
-R19 Fire 50%
-R23 Orange 25%

Model Lighting:

-G388 Gold Rush (full)- 90 degree elevation angle, 17 feet above the deck, centered on model, direct downlight on model, 11 foot throw
-G315 Autumn Glory (full)- 54 degree elevation angle, direct back light, 17 feet above the deck, centered on the model, 8 feet upstage of model, 14 foot throw
-NC (50%)- 48 degree elevation angle, 37 degree side angle, 17 feet above the deck, 6 feet stage right of model, 8 feet downstage of model, 15 foot throw

 

2) Spring Sunrise in New England

Screen Shot 2014-04-17 at 4.23.26 PM

When I first think of a sunrise, I feel a cool breeze and know of a potential warmth and color palette that will grow in the sky. And associating this with New England, is even colder to me, so I chose to use cool blues and golds that represent the rising sun. This was my favorite scene to light because I love seeing the Spring sunrise peer through, from behind the couple. Spring to me is always the most positive season because of the change in brightness and blooming flowers; thus, I thought it would be perfect to depict that idea through lighting behind a dancing couple! Spring is not only a time for flowers to bloom, but also a time for love, and I really aimed to demonstrate that through this scene.

Top Cyc Lights:

-NC 75%
-Red 25%
-Green 50%
-Blue 75%

Bottom Cyc Lights:

-NC 50%
-Blue 25%

Model Lights:

-AP7200 Adobe Orange (25%)- 42 degree elevation angle, 48 degree side angle, 17 feet above the deck, 9 feet stage right of model, 8 feet downstage of model, 16 foot throw
-AP7250 Nude Gold (25%)- 42 degree elevation angle, 48 degree side angle, 17 feet above the deck, 9 feet stage left of model, 8 feet downstage of model, 16 foot throw
-AP6600 Harvest Gold (25%)- 75 degree elevation angle, 17 feet above the deck, 3 feet stage right of model, direct sidelight to model, 11 foot throw
-AP6600 Harvest Gold (Full)- 90 degree elevation angle, 17 feet above the deck, centered on model, direct downlight on model, 11 foot throw
-AP7300 Bashful Amber (75%)- 75 degree elevation angle, 17 feet above the deck, 3 feet stage left of model, direct sidelight to model, 11 foot throw
-AP3000 Simply Mauvelous (50%)- 54 degree elevation angle, direct back light, 17 feet above the deck, centered on model, 8 feet upstage of model, 14 foot throw

 

3) Noon on a hot summer day in Brazil

Screen Shot 2014-04-17 at 4.57.25 PM

Though I have never been to Brazil, knowing about their culture and climate made me gravitate towards light blues and greens to recreate a Brazilian summer day at noon. I also included golden colors and pinks to convey the hotness of the sun beating down directly overhead. I placed lights all around my model to show that the sunshine and warmth encompasses him on this Brazilian beach.

Top Cyc Light:

-NC 20%
-L157 Pink 25%
-Green 50%
-Blue 75%

Bottom Cyc Light:

-NC 75%
-Green 50%
-Blue 25%

Model Light:

-P31062 Booster Blue (50%)- 23 degree elevation angle, 56 degree side angle, 12 feet above the deck, 12 feet stage right of model, 8 feet downstage of model, 16 foot throw
-RE108 English Rose (75%)- 32 degree elevation angle, 56 degree side angle, 15 feet above the deck, 12 feet stage right of the model, 8 feet downstage of model, 17 foot throw
-RE119 Dark Blue (25%)- 42 degree elevation angle, 48 degree side angle, 17 feet above the deck, 9 feet stage right of model, 8 feet downstage of model, 16 foot throw
-AP2140 Apollo Orange 1/4 CTO (25%)- 75 degree elevation angle, 17 feet above the deck, 3 feet stage right of model, Direct sidelight to model, 11 foot throw
-AP6150 Yellow Snow (75%)- 54 degree elevation angle, direct back light, 17 feet above the deck, centered on model, 8 feet downstage of model, 14 foot throw
-R317 Apricot (75%)- 52 degree elevation angle, 21 degree back angle, 17 feet above the deck, 3 feet stage left of model, 8 feet upstage of model, 14 foot throw
-RE147 Apricot (10%)- 48 degree elevation angle, 37 degree side angle, 17 feet above the deck, 6 feet stage left of model, 8 feet downstage of model, 15 foot throw
-P31062 Booster Blue (25%)- 32 degree elevation angle, 56 degree side angle, 15 feet above the deck, 12 feet stage left of model, 8 feet downstage of model, 17 foot throw
-RE236 HMI to Tungten (25%)- 27 degree elevation angle, 12 feet above the deck, 12 feet stage left of model, direct sidelight to model, 13 foot throw

 

4) Winter afternoon in Alaska

Screen Shot 2014-04-17 at 5.40.31 PM

When I think of Alaska at any time of the year I automatically think the coldest cold I’ve ever experienced, but even colder than that. So, depicting the coldest season in an already cold environment made me gravitate towards icy blues and almost white lights. I chose Ray sitting in a closed position to also show that the afternoon sun was only hitting his back, but not providing any sort of warmth. The icy blue lights also emphasize the desolate isolation the winter and endless amount of snow the winter can bring.

Top Cyc Light:

-G363 Sand Full
-AP7670 Salmonilla Full
-G725 Princess Blue 50%
-Blue 25%

Bottom Cyc Light:

-AP5600 Montego Blue Green 25%
-AP2180 Apollo Orange 1/8 CTO 75%
-AP4500 Ozone Blue 25%
-Blue 25%

Model Light:

-NC (Full)- 43 degree elevation angle, 17 feet above the deck, 12 feet stage right of model, direct sidelight to model, 16 foot throw
-AP2200 Apollo Straw Full CTO (Full)- 37 degree elevation angle, 56 degree back angle, 17 feet above the deck, 12 feet stage right of model, 8 feet upstage of model, 18 foot throw
-AP7670 Salmonilla (50%)- 61 degree elevation angle, 17 feet above the deck, 6 feet stage right of model, direct sidelight to model, 13 foot throw
-R61 Mist Blue (25%)- 75 degree elevation angle, 17 feet above the deck, 3 feet stage right of model, direct sidelight to model, 11 foot throw
-AP4800 Ice Blue (75%)- 52 degree elevation angle, 21 degree back angle, 17 feet above the deck, 3 feet stage right of model, 8 feet upstage of model, 14 foot throw
-R70 Nile Blue (25%)- 54 degree elevation angle, direct back light, 17 feet above the deck, centered on model, 8 feet downstage of model, 14 foot throw

 

Four Seasons

1) Fall Sunset in Vermont:

Fall Sunset

Oranges and purples represent fall for me completely, the array. As for sunsets, they usually have so many colors in them and I tried to replicate that in my picture and still be true to the fall color-scheme. I chose to add a dark blue on top to show the night approaching. As for my models I wanted them to be shadowy. I added pink into the model lighting to give a warm , romantic feel to it.

Cyc Lights:

Top: L071 full, L126 at 50%

Bottom: G345 full, NC at 25%

Model Lighting:

G104:29 degree elevation angle/ 37 degree side angle. Intensity: 50%. SR

G375: 37 degree elevation angle/ 56 degree side angle. Intensity: 25% SR

G375: -19 degree elevation angle/ 56 degree back angle. Intensity: 25% SR

G341: 35 degree elevation angle/ direct back light. Intensity: 50%

G342: 54 degree elevation angle/ direct back light. Intensity: 50%

G104: 29 degree elevation angle/ 37 degree side angle. Intensity: 25%. SL

G375: 37 degree elevation angle/56 degree side angle. Intensity: 50%. SL

G375: -19 degrees elevation angle/56 degree back angle. Intensity: 25%

 

2) Spring Sunrise in New England

Spring Sunrise

In this picture, I replicated a sunrise that had pink tones to it. I believe that the lightness and the vibrant colors are very reminiscent of the spring time! Yellows and pinks also remind me of flowers, which is why I think this is a perfect choice for a spring sunrise. For the model lighting I still tried to keep it a little shadowy cause the sun is coming from the bottom while still keeping her vibrantly lit.

Cyc Lighting:

Top: AP8445 on full, Ap4700 at 25%

Bottom: AP745 on full, Nc at 25%, AP4700 at 25%

Model Lighting:

G341: 29 degree elevation angle/ 37 degree side angle. Intensity: 50% SR

G342: –19 degree elevation angle/ 56 degree side angle. Intensity: 50%. SR

G325: 54 degree elevation angle/ direct back light. Intensity: 25%

G342: 54 degree elevation angle/ direct back light. Intensity: 50%

G342: -31 degree elevation angle/ 37 degree side angle. Intensity: 25% SR

G323: 33 degree elevation angle/ 21 degree side angle. Intensity: full SL

G323: -19 degree elevation angle/ 56 degree side angle. Intensity: 25% SL

3) Noon on a Summer day in Brazil!

Brazilian Summer

Brazil at noon in the summer is light blue! It is always sunny and everything is almost overwhelmingly bright! I chose to lit my model as homogeneously as possible since in Brazil the light comes from everywhere, mostly the light is pretty white but I added some slight yellow tones to bring up some of the Brazilian warmness. The backdrop is the exactly color of the sky at noon time.

Cyc Light:

Top : AP1900 full, Ap200 at 25%, NC at 25%

Bottom: AP3520 Full, AP1900 Full, NC at 50%

Model Lighting:

L778: 32 degree elevation angle/ 56 degree side angle. Intensity: 25%. SR

L130: 23 degree elevation angle/ 56 degree side angle. Intensity: 75%. SR

L130: 32 degree elevation angle/ 56 degree side angle. Intensity: 50%. SL

AP2220: 23 degree elevation angle/ 56 degree side angle. Intensity: 50%. SL

L750: 54 degree elevation angle/ direct back light. Intensity: 75%

 

4) Winter Afternoon in Alaska

Winter

I chose to depict a post-snowstorm day in Alaska, when the sky is bright blue because the storm has passed but there is snow everywhere. I added some purple tones in the backdrop to make the blue cooler. As for the model lighting I added lights with very little color in them, I also did some front floor lights to represent the light that would be reflected from the snow.

Cyc Lighting:

Top: AP3300 at 25%, AP3150 at 25%, AP3450 Full and AP3800 at 75%

Bottom: AP3600 full, AP3500 full

Model Lighting:

Ap3300: 29 degree elevation angle/ 37 degree side angle. Intensity: 25%. SR

Ap3300: 23 degree elevation angle/ 56 degree side angle. Intensity: 50%. SR

AP280: -31 degree elevation angle/ 37 degree side angle. Intensity: 25%. SR

AP2180: 54 degree elevation angle/ direct back light. Intensity: 75%.

AP2180:  23 degree elevation angle/ 56 degree side angle. Intensity: 75%. SL

AP280: -31 degree elevation angle/ 37 degree side angle. Intensity: 25%. SL

 

 

Virtual Light Lab Assignment

Fall Sunset in Vermont

FallSunsetimage

When thinking about a sunset, one imagines the hot orange color of the sun disappearing behind the horizon, and the dark night sky arriving. In order to mimic this, I chose to light the bottom of the cyc with an orange color. The top of the cyc is light with a night blue, in order to represent the sky. Since the light source during a sunset is low in the sky, I utilized a lot of bottom light. All of the gels I chose have either an orange or indigo type color, as well as some flesh tones in order to highlight the actor’s features, so they can be seen from the audience.

CYC:

  • Above: R74 @ 75%
  • Below: R23 @ 50% and R26@ 25%

MODEL:

  • Bottom/Front Light: R127 @ 38%, right and left of model, 19 degree elevation angle, 56 degree side angle
  • Bottom/Back Light: R22 @Full, right and left of model,  19 degree elevation angle, 56 degree side angle
  • Top/Side Light: R59 @ Full, right and left of model, 32 degree elevation angle, 56 degree side angle
  • Top/Side Light: R07 @ 25% right and left of model, 37 degree elevation angle, 56 degree side angle
  • Top Light: R06 @ 50%, 54 degree elevation angle, direct back light, center stage

Spring Sunrise in New England

SpringSun

When researching spring sunrises in New England, I came across many images where light pinks and blues were the primary colors. I wanted to recreate the moment when the sun first peeks over the horizon. The cyc is light so that the pink on the bottom is the rising of the warm spring sun, however, the beautiful spring sky is already lit. The model is lit with many pinks and warm colors, representing the light that would be cast by this warm spring sun.

CYC:

  • Above: R72 @ Full
  • Below: R37 @ Full

Model:

  • Footlight: R34 @ 25%, right  and left of model, -31 degree elevation angle, 37 degree sidelight
  • Top/Side Light: R04 @ 75%, right and left of model, 43 degree elevation angle, direct sidelight to model
  • Top/Front Light: R03 @ 25%, right and left of model, 33 degree elevation angle, 21 degree side angle
  • Top/Front Light: R37 @ 75%, right and left of model, 34 degree elevation angle, 11 degree side angle

Noon on a Hot Summer Day in Brazil

NoonBrazilImage

All the research I gathered portrays a Brazilian summer with gorgeous blue skys, and a hot, white sun. In this image, I chose to try and recreate this brilliant blue color with my choice of cyc lights. For the model, I aimed to make the sunlight as natural as possible. In order to do this, I used a lot of gel colors in the RoscoSun collection.  By placing the sun in the background on SR, I chose to make this my source, and this shows in the shadows on the model.

CYC:

  • Above: R72 @ Full
  • Below: R363 @ Full, R63 @ 50%

MODEL:

  • Top/Side Light: R07 @ 50%, right of model, 37 degree elevation angle, 56 degree side angle
  • Top/Side Light: R07 @ 50%, right of model, 51 degree elevation angle, direct sidelight to model
  • Top/Side Light: R07 @ 50%, right of model, 43 degree elevation angle, direct sidelight to model
  • Top/Side Light: R14 @ 50%, right of model, 42 degree elevation angle, 48 degree side angle
  • Top/Front Light: R07 @ 50%, right of model31 degree elevation angle, 29 degree side angle
  • Top/Front Light: R01 @ 50%, right of model, 33 degree elevation angle, 21 degree side angle
  • Top/Front Light: R63 @ 50%, 35 degree elevation angle, direct backlight on model
  • Top/Front Light: R05 @ 25%, left of model, 33 degree elevation angle, 21 degree side angle
  • Top/Front Light: R05 @ 25%, left of model, 31 degree elevation angle, 29 degree side angle
  • Top/Side Light: R35 @ 25%, left of model, 42 degree elevation angle, 48 degree side angle
  • Top/Side Light: R35 @ 25%, left of model, 43 degree elevation angle, direct sidelight to model
  • Top/side Light: R64 @ 25%, left of model 37 degree elevation angle, 56 degree side angle
  • Top/side Light: R64 @ 25%, left of model, 51 degree elevation angle, direct sidelight

 

A Winter Afternoon in Alaska

alaska

For this scene, I really wanted to play up the stereotype that Alaska was a cold, empty, desolate space. When someone thinks of Alaska, they usually think of whites and blues, which are heavily represented in this scene. I took more of an abstract view on the lighting here, and put the realistic aside. The cyc is lit in harsh blue tones, and the model is lit with high contrast and sharp angles. All of these things help contribute to the idea of Alaska’s desolateness.

CYC:

  • Above: R132 @ Full
  • Below: R125 @ Full

MODEL

  • Top/Side Light: Unfiltered @ 20%, right and left of model, 29 degree elevation angle, 37 degree side angle
  • Top/Side Light: R67 @ 70%, right of model, 37 degree elevation angle, 56 degree side angle
  • Top/Side Light: R67 @ 70%, right of model, 42 degree elevation angle, 48 degree side angle
  • Top/Side Light: R66 @ 750%, right of model, 37 degree elevation angle, 56 degree side angle
  • Top/Side Light: R66 @ 70%, right of model, 42 degree elevation angle, 48 degree side angle
  • Back/Sidelight: R62 @ 70%, right and left of model, 0 degree elevation angle, 56 degree side angle
  • Bottom/Front Light: R63 @ 50%, right and left of model, -19 degree elevation angle, 56 degree side angle

 

 

 

 

Four Seasons: Virtual Light Lab

Screen Shot 2014-04-11 at 11.16.13 AM

Fall Sunset in Vermont.

For the fall sunset in Vermont, I chose a very deep orange red on the cyc to mimic the colors of an actual sunset. I decided that the top of the cyc should be darker, to signify the oncoming night.

Cyc lights:

  • Above: gel colors G888 at 56% intensity, G985 at 46% intensity
  • Below: gel colors G382 at 28% intensity, G315 at 21% intensity, G335 at 44% intensity, and G250 at 43% intensity

Model Lights:

  • G1517: 45% intensity, 43 degree elevation angle, 17 ft above the deck, 12 ft stage right of model, direct sidelight, 16 ft throw
  • G1518: 100% intensity, 52 degree elevation angle, 21 degree back angle, 17 ft above deck, 3 ft stage right of model, 8 ft upstage of model, 14 ft throw
  • G338: 49% intensity, 31 degree elevation angle, 29 degree side angle, 17 above deck, 9 ft stage left of model, 16 ft downstage of model, 21 ft throw
  • G335: 95% intensity, 37 degree elevation angle, 56 degree side angle, 17 ft above deck, 12 ft stage left of model, 8 ft downstage of model, 18 ft throw

Screen Shot 2014-04-11 at 11.16.30 AM

Spring Sunrise in New England

For the spring sunrise in New England, I decided to give the rising sun a softer look. In the morning, the colors are less vibrant than when it’s setting, like everything is waking up. The warm yellow orange is rising, pushing the fading purple blue away as the night dissipates.

Cyc lights:

  • Above: NC at 13% intensity, gel colors G888 at 74% intensity, G250 at 22% intensity, and G990 at 41% intensity
  • Below: gel colors G108 at 28% intensity, G315 at 45% intensity, G470 at 48% intensity, and G250 at 78% intensity

Model Lights:

  • G360, 100% intensity, 31 degree elevation, 29 degree side angle, 17 ft above the deck, 9 ft stage left of model, 16 ft downstage of model, 21 ft throw
  • NC, 62% intensity, 42 degree elevation, 48 degree side angle, 17 ft above the deck, 9 ft stage left of model, 8 ft downstage of model, 16 ft throw
  • G990, 55% intensity, 42 degree elevation, 48 degree side angle, 17 ft above the deck, 9 ft stage right of model, 8 ft downstage of model, 16 ft throw
  • G985, 100% intensity, 54 degree elevation, direct backlight, 17 ft above the deck, centered on model, 8 ft upstage of model, 14 ft throw

Screen Shot 2014-04-11 at 11.16.46 AM

Noon on a hot Summer day in Brazil

After researching, I saw that most Summer days in Brazil are full of sunny blue skies and beaches, so I decided to reflect that by showing the nice bright cyan sky from above, mixed with the yellow sunlight reflecting off the water from below.

Cyc lights:

  • Above: NC at 64% intensity and gel color G725 at 100% intensity
  • Below: gel colors G480 at 75% intensity and G813 at 100% intensity

Model Lights:

  • G790 at 55% intensity, 42 degree elevation, 48 degree side angle, 17 ft above the deck, 9 ft stage right of model, 8 ft downstage of model, 16 ft throw
  • G890 at 100% intensity, 52 degree elevation, 21 degree back angle, 17 ft above the deck, 3 ft stage right of model, 8 ft upstage of model, 14 ft throw
  • NC at 62% intensity, 13 degree elevation, 21 degree side angle, 10 ft above the deck, 6 ft stage left of model, 16 ft downstage of model, 18 ft throw
  • G470 at 100% intensity, 42 degree elevation, 48 degree side angle, 17 ft above the deck, 9 ft stage left of model, 8 ft downstage of model, 16 ft throw

Screen Shot 2014-04-11 at 11.17.05 AM

 

Winter Afternoon in Alaska

During the winter there are only 0-7 hours of sunlight a day, depending on your location, in Alaska. I decided to show this by having the sky be a deep almost dark blue (not as bright as a sunny winter day in New York, but not as dark as night either), with a lighter base, because of the little sunlight reflecting off of the snow.

Cyc lights:

  • Above: gel color AP4150 at 100% intensity
  • Below: gel colors AP4700 at 100% intensity, AP 3800 at 100% intensity, and BLUE at 100% intensity

Model Lights:

  • L717: 69% intensity, 37 degree elevation, 15 ft above the deck, 12 ft stage right of model, direct sidelight, 15 ft throw
  • L198: 100% intensity, 42 degree elevation, 17 ft above the deck, 9 ft stage right of model, 8 ft upstage of model, 16 ft throw
  • L708: 66% intensity, 43 degree elevation, 17 ft above the deck, 12 ft stage left of model, direct sidelight, 16 ft throw
  • L202: 100% intensity, 37 degree elevation, 56 degree side angle, 17 ft above the deck, 12 ft stage left of model, 8 ft downstage of model, 18 ft throw
  • NC: 31% intensity, 31 degree elevation, 29 degree side angle, 17 ft above the deck, 9 ft stage left of model, 16 ft downstage of model, 21 ft throw

Max Cerci – VLL Assignment

VLL stage

 

Fall Sunset In Vermont

Top Cyc Lights –

Green – Full

Blue – Full

Bottom Cyc Lights 

Yellow – 50%

Red – Full

Model Lighting

G290 @ 75% – 0 Degree elevation angle, 56 degree back angle. 6 Feet above the deck, 12 feet stage right of model, 8 feet upstage of model, 14 foot throw.

G388 @ 75% –  23 degree elevation angle, 56 degree back angle, 12 feet above the deck, 12 feet stage right of model, 16 foot throw.

G540 @ 15% – 37 degree elevation angle, 56 degree back angle, 56 degree back angle, 17 feet above the deck, 12 feet stage right of the model, 8 feet upstage of the model, 18 foot throw.

G720 @ 22% – 43 degree elevation angle, 17 feet above the deck, 12 feet stage right of model, Direct sidelight to model, 16 foot throw.

G290 @ 75% – 0 degree elevation angle, 56 degree  back angle, 6 feet above the deck, 12 feet stage left of model, 8 feet upstage of model, 14 foot throw

G388 @ 75% – 23 degree elevation angle, 56 degree back angle, 12 feet above the deck, 12 feet stage left of model, 16 foot throw.

G540 @ 16% – 37 degree elevation angle, 56 degree back angle, 17 feet above the deck, 12 feet stage left of model, 8 feet upstage of model, 18 foot throw.

G720 @ 23% – 43 degree elevation  angle, 17 feet above the deck, 12 feet stage left of model, Direct sidelight to model, 16 foot throw.

AP 2190 @ FL – 54 degree elevation angle, direct backlight, 17 feet above the deck, Centered on model, 8 feet upstage of model, 14 foot throw.

G 395 @ 11% – 29 degree elevation angle, 37 degree side angle, 17 feet above the deck, 12 feet stage left of model, 16 feet downstage of model, 23 foot throw.

G342 @ 25% – 35 degree elevation angle, direct back light, 17 feet above the deck, centered on model, 16 feet downstage of model, 19 foot throw.

G395 @ 11% – 29 degree elevation angle, 37 degree side angle, 17 feet above the deck, 12 feet stage right of model, 16 feet downstage of model, 23 foot throw.

When creating the cyc light, my primary concern was obtaining the greenish color that mixes in the middle of the orange/red and blue. In order to achieve this I switched out the green on the bottom cyc lights for a yellow and placed it at 50%. When providing lights for the model, I attempted to accurately portray where the direction and level of each colored light was coming from. I saw the redness coming from the bottom of the sky with a yellow/orange in the middle topped by a green and a blue further back. I also saw that the strongest of the colors was the red and orange so I placed those at 75% and lowered the intensity of the gree nad blue. Similarly, I but a backlight at full similar to the one of the sun in order to fully obtain the direction that the rays were coming from. lastly I placed three lights in from of the models at a low intensity and slightly distilled color to show that light would still be coming from the other side, just not as much.

 

VLL stage

 

Sunrise in New England

Top Cyc Lights

NC @ 73%

Blue @ 79%

Bottom Cyc Lights

NC @ 60%

Red @ 49%

Blue @ 60%

MODEL #1 ( Couple)

L126 @ FL – 48 degree elevation angle, 37 degree back angle, 17 feet above the deck, 6 feet stage right of model, 8 feet upstage of model, 15 foot throw.

L109 @ FL – 75 degree elevation angle, 17 feet above the deck, 3 feet stage right of model, Direct sidelight to model, 11 foot throw.

L192 @ FL – 54 degree elevation angle, direct back light, 17 feet above the deck, centered on model, 8 feet downstage of model, 14 foot throw.

L113 @ FL – 75 degree elevation angle, 17 feet above the deck, 3 feet stage left of model, Direct sidelight to model, 11 foot throw.

L128 @ FL – 48 degree elevation angle, 37 degree back angle, 17 feet above the deck, 6 feet stage left of model, 8 feet upstage of model, 15 foot throw.

NC @ FL – 37 degree elevation angle, 56 degree back angle, 17 feet above the deck, 12 feet stage left of the model, 8 feet upstage of model, 18 foot throw.

MODEL #2 (Sad and Alone Man)

Same as above.

Living in New England, I know that sunrise can be the most colorful part of the day. Especially on the beach, the light is often a purple or red. When finding a color for the backdrop I knew that the higher part of the backdrop needed to be a blue and white and mix well into the purple at the bottom. Similarly, I new the most purple part needed to be a a mixture of blue, red, and white. When modeling the the models, I needed to resemble the different colors coming from all around the sky. The colors on stage left were clearly darker and more red so I made all SR colors reflect that. I also knew that because it was darker red over there I knew that was the direction that the sun was coming from so I added a NC to brighten that side of the actors a little more. The opposite stands for the other side as I knew that there was a more pinkish feeling over there.

VLL stage

 

Noon on a Hot Summer Day In Brazil

Top Cyc Lights

NC @ 90%

Red @ FL

Bottom Cyc Lights

NC @ 74%

Red @ FL

Model Lights

AP7850 @ 50% –  0 degree elevation angle, 6 feet above the deck, 12 feet stage right of model, 8 feet upstage of model, 14 foot throw.

AP 7850 @ 50% – 0 degree elevation angle, 6 feet from deck, 12 feet stage left of model, Direct sidelight to model, 12 foot throw.

AP7850 @ FL – 90 degree elevation angle, 17 feet above the deck, centered on model, direct downlight on model, 11 foot throw.

AP 2140 @ 75% – 51  degree elevation angle, 17 feet above the deck, 9 feet stage right of model, direct sidelight to model, 14 foot throw.

AP 2140 @ 75% – 51  degree elevation angle, 17 feet above the deck, 9 feet stage left of model, direct sidelight to model, 14 foot throw.

AP2200 @ FL – 14 degree elevation angle, direct backlight  10 feet above the deck, centered on model, 16 feet downstage of model, 16 foot throw.

G108 @ 25% – 31 degree elevation angle, 29 degree sidelight angle, 17 feet above the deck, 9 stage right of model, 16 feet downstage of model, 21 foot throw.

G108 @ 25% – 31 degree elevation angle, 29 degree sidelight angle, 17 feet above the deck, 9 stage left of model, 16 feet downstage of model, 21 foot throw.

 

When making the backdrop lighting for this picture, it was hard to find a lighting that would make it feel hotter with the backdrop I had chosen. In order to do so I added a lot of red and softened it out with some NC light. The hot feeling is still there but it does not look unrealistically red. At noon, the sun is usually highest in the sky. In order to get that feeling, I knew there would have to be multiple shadows to show that the sun was coming from the top. This is why I put the most intense and darkest color above the models head. I then softened out the color and lowered the intensity for the other colors coming from the sky and added a 50% sidelight of the same hot color as the light directly above. I also knew that I wanted the models face to be lit up because the sun is the most visible at this time so I put to lighter gels aimed at the models face which also helped to give the illusion of more top light.

VLL stage

 

Top Cyc Lights

NC @ 78%

Blue @ FL

Bottom Cyc Lights

AP2280 @ FL

Blue @ FL

Model Lights

AP3550 @ FL – 42 degree elevation angle, 48 degree back angle, 17 feet above the deck, 9 feet stage right of model, 8 feet upstage of model, 16 foot throw.

AP3520 @ FL – 42 degree elevation angle, 48 degree back angle, 17 feet above the deck, 9 feet stage left of model, 8 feet upstage of model, 16 foot throw.

NC @ FL – 48 degree elevation angle, 37 degree back angle, 17 feet above the deck, 6 feet stage right of model, 8 feet upstage of model, 15 foot throw.

NC @ FL – 48 degree elevation angle, 37 degree back angle, 17 feet above the deck, 6 feet stage left of model, 8 feet upstage of model, 15 foot throw.

NC @ FL – 52 degree elevation angle, 21 degree back angle, 17 feet above the deck, 3 feet stage right of model, 8 feet upstage of model, 14 foot throw.

NC @ FL – 52 degree elevation angle, 21 degree back angle, 17 feet above the deck, 3 feet stage left of model, 8 feet upstage of model, 14 foot throw.

NC @ FL – 54 degree elevation angle, direct back light, 17 feet above  the deck, centered on model, 8 feet upstage of model. 14 foot throw.

AP3520 @ FL – 90 degree elevation angle, 17 feet above the deck, centered on model, direct downlight on model, 11 foot throw.

AP3520 @ FL – 54 degree elevation angle, direct backlight, 17 feet above the deck, centered on model, 8 feet downstage of model, 14 foot throw.

AP2000 @ FL – 48 degree elevation angle, 37 degree side angle, 17 feet above the deck, 6 feet stage right of model, 8 feet dowstage of model, 15 foot throw.

AP3300 @ 25% – 31 degree elevation angle, 29 degree side angle, 17 feet above the deck, 9 feet stage right of model, 16 feet downstage of model, 21 foot throw.

AP3500 @ FL – 35 degree elevation angle, direct backlight, 17 feet above the deck, centered on model, 16 feet downstage of model, 19 foot throw.

NC @ FL – -19 degree elevation angle, 56 degree back angle, 1 foot above the deck, 12 feet stage right of model, 8 feet upstage of model 15 foot throw.

NC @ FL – -19 degree elevation angle, 56 degree back angle, 1 foot above the deck, 12 feet stage left of model, 8 feet upstage of model 15 foot throw.

When making this picture, I knew I needed to add blue to the backdrop however, I did not want to take the white color out of the picture so I added a FL blue with just a little bit of NC taken away. Similarly, I added a lot of blue gels around the model to get the blue, cold feeling with concentration of NC behind the model to get the cold but strong rays of the sun. Lastly I knew I needed to have footlight pointing up that the actor to show the sun reflecting off of the snow. \

 

NOTE: Indication of SIDELIGHT SR or SR, TOP LIGHT, BACKLIGHT, ETC. Indicated in description.

Virtual Light Lab: Four Seasons

Virtual Light Lab Project

*All angle information came from the “Show Info” function on VVL.

1. Fall Sunset in Vermont.

Screen Shot 2014-04-16 at 12.32.42 PM

 

Top Cyc Lights:

-NC at 50%.

-RE164 (Flame Red) at Full Intensity.

-G510 (No Color Straw) at 30%.

Bottom Cyc Lights:

-NC at 75%.

-L767 (Oklahoma Yellow) at Full Intensity

Model Lighting:

-RE164 (Flame Red), 37 degree elevation angle, 56 degree back angle, backlight from stage right at full intensity.

-L767 (Oklahoma Yellow), 42 degree elevation angle, 48 degree back angle, backlight from stage right at 50% intensity.

-NC, 43 degree elevation angle, sidelight from stage right at 25% intensity.

-NC, 27 degree elevation angle, sidelight from stage right at 25% intensity.

The shadings used in this photo are used to depict what a sunset in Vermont would look like. A red and a yellow light is shone in the direction the sun is facing representing the warm beams that the sun can create. They fit in with the tree just losing it’s leaves in the autumn. The two faintly lit white lights are used to show that the atmosphere around sunsets aren’t completely bereft of light. The colors used in the backdrop gives a warm feeling that a sunset would normally evoke.

2. Spring Sunrise in New England.

Screen Shot 2014-04-16 at 1.16.06 PM

Top Cyc Lights:

-NC at 50%.

-RE007 (Pale Yellow) at 25%

-RE101 (Yellow) at Full Intensity.

Bottom Cyc Lights:

-NC at 50%.

-RE019 (Fire) at Full Intensity.

-RE141 (Bright Blue) at 90% Intensity.

Model Lighting:

-R22 (Deep Amber), 37 degree elevation angle, 56 degree back angle, backlight from stage right at full intensity.

-RE104 (Deep Amber), 42 degree elevation angle, 48 degree back angle, backlight from stage right at full intensity.

-NC, 0 degree elevation angle, sidelight from stage right at 50% intensity.

-NC, 0 degree elevation angle, sidelight from stage left at 50% intensity.

-RE141 (Bright Blue), -19 degree elevation angle, 56 degree back angle, backlight from stage right at 20% intensity.

The colors and lighting in this photo depicts a spring sunrise in New England. The warm atmosphere of the beach exhibits features of what spring can look like in the New England. The dark clouds above could possibly show an April shower about to occur. The red and yellow lighting comes from the angle the sun is rising from as it hits the subjects with and amber-ish glow. The two uncolored lights on the side represent the lighting around them. Just because there is one light source in the picture doesn’t mean everything around them is shrouded in shadow. The faint light on their feet is to show the very dim and blue glow upon their feet. The red and the deep golden amber in the backdrop give an aura of what a sunrise would give while the blue and red exhibit the light on the floor of the beach.

3. Noon on a hot Summer day in Brazil.

Screen Shot 2014-04-16 at 2.07.34 PM

 

Top Cyc Lights:

-NC at 90%.

-R4560 (CalColor 60 Yellow) at Full Intensity.

Bottom Cyc Lights:

-NC at 30%.

-R4560 (CalColor 60 Yellow) at 75%.

-G120 (Bright Pink) at Full Intensity.

Model Lighting:

-NC, 37 degree elevation angle, 56 degree back angle, backlight on stage left at full intensity.

-RE5336 (Aztec Gold), 43 degree elevation angle, sidelight on stage left at 50% intensity.

-RE5336 (Aztec Gold), 61 degree elevation angle, sidelight on stage left at 75% intensity.

-RE452 (One Sixteenth White), -19 degree elevation angle, 56 degree side angle, front light on stage left at 65% intensity.

-RE452 (One Sixteenth White), 54 degree elevation angle direct backlight, front light center stage at full intensity.

-RE452 (One Sixteenth White), 37 degree elevation angle, 56 degree side angle, front light stage right at 50% intensity.

 

The shadow angle and sheer brightness in this picture shows what Noon would look like on a hot summer day in Brail. The backdrop exhibits shades of bright pink and pale yellow. These two color combine to create a wonderful shade of white that still exhibits colors of heat. The gold and white colors shine down from the back of the subject casting a bright beam of sunny colors as the sun is at it’s highest peek. The gold represents the sun and the white represents the light the sun emits. This beam of light creates a shadow in front of the subject. The shadow points in the same direction as the lady’s in the picture. The other white lights around the subject exhibit the quality of light that would shine around the subject. They are used to make just there are few shadows around the subject.

4. Winter Afternoon in Alaska.

Screen Shot 2014-04-16 at 3.05.37 PM

 

Top Cyc Lights:

-NC at 50%.

-AP6500 (Bikini Yellow) at 30%.

-G770 (Christel Blue) at Full Intensity.

Bottom Cyc Lights:

-NC at 75%.

-G920 (Pale Lavender) at 50%.

Model Lighting:

-NC, 54 degree elevation angle direct back light, front light center stage at 65% intensity.

-AP3300 (Whispering Lavender), 54 degree elevation angle direct back light, backlight center stage at full intensity.

-AP4800 (Ice Blue), 37 degree back angle, 56 degree back angle, backlight on stage left at full intensity.

-AP4800 (Ice Blue), 37 degree back angle, 56 degree back angle, backlight on stage right at full intensity.

The shadows and cool colors here, represent the winter chill of an afternoon in Alaska. The backdrop uses white and blue on the top to simulate the chill of a winter. Yellow is mixed in with these colors to represent the light of the sun. Pale lavender is used to mix in with the white to give a shadow-like feel. There is use of icy blue colors and lavender, not because of the light but because it adds to the shadow effect that a sun would create at his time of day. The white front light represents the light that would still be around him. In this time of day, his entire body wouldn’t be completely surrounded by darkness.

1) Fall Sunset in Vermont

vllpic000001

Top Cyc Lights:

  • R39, 50%
  • R4460, Full
  • R83, Full

Bottom Cyc Lights:

  • R21, 50%
  • R25, 75%
  • R14, 50%
  • R83, Full

Model Lighting:

  • 35 degree, top center backlight, no color, 50%
  • 48 degree, backlight SR, R64, 25%
  • 42 degree, backlight SR, R64.25%
  • 48 degree, backlight SL, R20. 75%
  • 42 degree, backlight SL, R20, 75%

The backdrop is lit to bring out the rich colors of a fall sunset. The people are lit from behind to show the fading sun’s last rays of warm amber coming from the Stage Left. And from stage right, a soft blue is coming in as the night skies begin to overtake the amber sun light.

2) Spring Sunrise in New England

vllpic000001

 

Top cyc lights:

  • R13, 24%
  • R21, 25%
  • R11, 25%
  • R65, Full

Bottom Cyc lights:

  • R13, 43%
  • R22, 50%
  • R11, 50%

Model Lighting:

  • 56 degree, top side lighting, SR, No color 50%
  • 48 degree, top side lighting, SR, No color 80%
  • 2 56 degree, back side lighting, SR, R14, 50%
  • 3 56 degree, back side lighting, SR, R14, 75%
  • 3 56 degree, back side lighting, SL, R67, 50%

To recreate a rising New England sun I used  yellows and hints of red at the bottom of the cyc. On the top portion of cyc I used blues as the incoming sunlight lighting up the sky for the beginning of the day. To light my model I used a lot of side backlighting because the sun is still at a low point and behind her. I used ambers coming in from SR because that is where the sun is coming from. The SL side of my model is more in shadow as the main source of light is coming from SR.

3) Noon on a hot Summer day in Brazil

vllpic000001

Top Cyc Lights:

  • R65, Full
  • R310, 50%

Bottom Cyc Lights:

  • R09, Full

Model Lights:

  • 43 degrees, top back light, SR, R61, 25%
  • 48 degrees, top side light, SR R61, 50%
  • 75 degrees, top back lighting, Center, No color , 25%
  • 54 degree, top lighting, R06, Center, Full
  • 75 degree, top lighting, No color, Center, 25%
  • 48 degree, top side lighting, R13, SL, 50%
  • 43 degree, top back lighting, R13 SL, 25%

I recreated noon on a hot summer day by using a light of bright colors. At noon the sun is at it’s highest point and casts the leas amount of shadow. My models are brightly lit with hints of blue and amber to show the reflecting light off of the ocean and sand. Also their shadows are underneath them which reflects the top lighting signifying the high sun.

4) Winter Afternoon in Alaska

vllpic000001

 

Top Cyc Lights:

  • R06, 25%
  • R68, Full

Bottom Cyc Lights:

  • R55, 50%
  • R71, Full
  • R53 Full

Model Lighting:

  • 56 degrees, top side lighting, SR, R63, 25%
  • 2 56 degree, bottom side lighting, SR, No color, 25%
  • 3 foot lights, Center Stage, No color, 25%
  • 2 bottom side lights, SL , No color, 25%
  • 48 degree, back lighting SL, R67, 50%
  • 48 degree, top side lighting, SL, R67, 50%
  • 43 degree, top side lighting, SL, R13, 25%
  • 56 degree, top side lighting, SL. R13, 25%
  • 37 degree, top side lighting, SL, R13 50%
  • 2 bottom side lights, SL, No color, 25%

I recreated a Winter afternoon in Alaska by using a light of bright lights. The sun is reflecting off of a lot of snow and is reflecting and hitting the models from all around from low angles.