The film illuminates the combination of the development of the lamp and the beam of light

As an art form born on the basis of science and technology, the film has made great progress in every art form or artistic expression, and it must be supported by technological progress. Photographic light is one of the four major expressions of film photography (optics, sports, color and light), and it is undoubtedly closely related to the development of film lighting. At the same time, as the photographer of the main body of film photography, The new requirements for the use of photographic light are often the driving force behind the development of new film luminaires.

When the first film lighting fixture low-pressure mercury vapor discharge lamp entered the field of film production, it mainly solved the trouble caused by the indefinite sunlight, and the film photographer was completely in the ranks of technicians. There is no other requirement or idea for light except for illumination. However, when the arc lamp enters the field of film illumination, its high-intensity point source characteristics provide sufficient brightness, while also providing clear light angle, light ratio and light and dark changes, bringing a powerful light shape to the film. ability. The light styling methods in the four major photographic modeling methods were established. When the incandescent light source including the inflated tungsten filament lamp and the tungsten halogen lamp enters the film production, through different styles of bulbs and tubes, lamps of different forms and different specifications, plus convenient erection, easy to control brightness, for film photography Lighting provides a rich light texture change. Film lighting fixtures have since formed a wide range of lighting fixtures. Film photographers have also begun to pay attention to the effects of different angles, different intensities, and different quality lines on the subject of the film.

The application of tungsten incandescent lamps to photographic lighting The emergence of tungsten incandescent lamps is earlier than the birth of the film, but because the radiation of tungsten incandescent lamps does not match the color-sensing properties of early positive-color film, resulting in In the case of positive color film, the tungsten incandescent lamp is almost a "color blind". So until the advent of full-color film, the application of tungsten incandescent lamps in the movie was limited to the source of the background slide. The field of film photography lighting is completely occupied by mercury vapor discharge lamps and arc lamps.

The breakthrough in the field of film photography lighting by tungsten incandescent lamps began with the release of full-color black and white film from Kodak in 1922. But before the world's film industry began to use panchromatic black and white film extensively in 1927, the carbon arc lamp familiar to filmmakers was the main location of film photography lighting. In 1927, the appearance of the sound film "kicked out" the ringing carbon arc lamp, which was replaced by a tungsten incandescent lamp.

In the 1929 Hollywood song and dance "Broadway", the photographer was still filmed by the "Jazz King" photographer Huo? Moore served. (See 1) This film is one of the masterpieces of Hollywood's early luxury giant songs and dances. It is the first film to be completely shot with tungsten incandescent lamps. Since then, the tungsten incandescent lamp has fully occupied the interaction between the development of film lighting and the use of photographic light. Yuan Jiaping Abstract This paper selects the incandescent lamp, tungsten halogen lamp and fluorescent lamp which occupy an important position in the development history of film photography lighting, respectively. Their inventions and the history of their application in film lighting, as well as the influence and interaction of film photography on the use of light techniques and light concepts, and predict the future development of film lighting fixtures.

Yuan Jiaping, Ph.D., Department of Photography, Beijing Film Academy, Ph.D. in Photographic Theory, official film photography and technical coordination of the Beijing Olympic Games, photography, movies, TV movies, TV series, promos, MV, etc.

In the field of film photography lighting, and rapidly developed a series of lamps for different purposes, such as spotlights, astigmatism lights, large-area floodlights.

In 1932, the company launched a three-film filming process for printing and dyeing. This is the first color film process system that can compare the true color of natural reproduction. Once it was launched, it quickly occupied the market and ruled the color film production technology for 20 years.

Because the balance color temperature required by the special art color process is 5500K of the daylight type, and the color temperature of the tungsten incandescent lamp can only reach about 2800K, it can not meet the requirements of normal color reproduction; not only that, the special art color process is equipped with a beam splitting prism. With the three-film camera of the filter, the sensitivity obtained by the conversion is only ASA5, and such low sensitivity makes the tungsten incandescent lamp whose brightness is not as good as that of the arc lamp cannot be used for actual film shooting. Until the early 1950s, Eastman Kodak introduced a modern color negative film product with a balanced color temperature of tungsten lamps, which made the tungsten filaments enter the ranks of color filming lamps. Since the use of lamps in this color film shooting, new form. The daylight-balanced color film is combined with an arc lamp equipped with a white flame-type carbon rod to capture a day view, and the tungsten incandescent lamp is used in conjunction with a tungsten-balanced color film to capture night scenes and scenes in the studio. The use of such movie lighting fixtures has continued to this day. Only tungsten incandescent and arc lamps have been replaced by tungsten halogen lamps and metal halide lamps, respectively.

The use of tungsten incandescent lamps has enabled filmmakers to discover many conveniences. Tungsten incandescent lamps can be continuously and flexibly adjusted from zero to maximum brightness by using a voltage regulator. This is not possible with carbon arc lamps and low-pressure mercury vapor discharge lamps. In addition, tungsten incandescent lamps are also lighter than arc lamps. When shooting in small and medium scenes, photographers use relatively light and flexible tungsten incandescent lamps to illuminate them. When shooting large depth scenes, or when shooting high-intensity and strong direct light effects, high-power carbon arc lamps are placed to achieve richer light changes. Since the illuminator of the tungsten incandescent lamp is larger than the carbon arc lamp, the light emitted is relatively soft, so when shooting the close-up of the actress, the photographer will choose to use the tungsten incandescent lamp to shoot. In the case of a close-up shot of a tough actor or some special extreme light effects, the photographer will choose a carbon arc lamp to shoot.

1 For film photographers, the “three-point” lighting method of main light, sub-light and background backlight established in the era of arc lamp is still used in black and white films shot with tungsten incandescent lamps, but the overall style of light is used. But there are subtle changes. In the early days, the light produced by the arc lamp was a hard light with clear edges. In order to make up for the lack of hard light on the actor's skin, a relatively heavy soft lens was generally used, resulting in a "soft focus" effect. When converted to a tungsten incandescent lamp, the tungsten incandescent lamp itself emits light that is softer than the arc lamp because the illuminant area of ​​the tungsten incandescent lamp is larger than that of the arc lamp. The full-color black-and-white film used has a higher sensitivity than before, and the lens used is a high-speed lens with a maximum aperture of f2. The viewing and listening plus the negative film printing technology at the time can make the image softer and softer than before. The comprehensive application of these technologies makes it possible to follow the "three-point" lighting, but the softening effect of the soft mirror added in front of the lens is not as heavy as before, and even some films simply do not use the soft mirror. In order to add some diffusing material to the front of the luminaire to change the light from direct hard light to diffuse light, it presents an image with a clearer focus. When it is necessary to express an actress or some romantic scene with a low contrast image, it is achieved by controlling the light ratio between the primary and secondary lights.

3 (See 2) This way of dealing with the character's light is basically the same as the way the character's light is handled in contemporary movies.

Tungsten incandescent lamps range in power from tens of watts to 20,000 watts, and are available in various types such as Fresnel lens spotlights, backlights, astigmatism lamps, and floodlight astigmatism lamps. A wide range of easy-to-use tungsten incandescent lamps allow photographers and lighting engineers to experiment with richer and more varied lighting effects in filming applications. Although the brightness of tungsten incandescent lamps is not as good as that of carbon arc lamps, it is light and easy to set up, safe to be close to actors, and tungsten incandescent lamps are very easy to control the range of light and light ratio. With such a luminaire to help, the photographer can effectively use the brightness and proportion of the light to highlight the subject and express the ambient atmosphere. Using the contrast between the light area and the shadow to express the way of using the atmosphere, starting from the arc light, it has reached a peak in the era of tungsten incandescent lamps.

Which can be said to represent the use of black movies from the 1940s to the 1950s. (See group) In fact, not only in black movies, but also in the mature period of the use of tungsten incandescent lamps, there have been many excellent black and white films with fine tone changes and rich and expressive effects. It can be said that it is the series of advantages of tungsten filament incandescent lamps that enable photographers and lighting engineers to further understand the use of light in film lighting through artistic creation practice.

The overall light style tends to have rich light and dark settings and delicate light ratio changes. Due to the small size and light weight of the tungsten incandescent lamp, photographers will have more opportunities to walk out of the studio than the arc lamp era, using medium and small power tungsten incandescent lamps to shoot in the real scene.

This requires the photographer to more closely observe and understand the light changes in the real scene, and effectively use the control of the lighting area, brightness, and light ratio to more strongly express the atmosphere of the scene and convey the emotional feelings of the film.

The use of tungsten incandescent lamps offers expressive light in feature films that emphasize dramatic conflicts, while its lightness, flexibility, and ease of use also provide an effective tool for creators seeking image realism. After the end of the Second World War, there was a film that emphasized the reality and pursued the true feelings of the image, represented by the Italian neo-realist film. Tungsten incandescent lamps make it possible to take full-life shooting with the advantages of small size, light weight, convenient erection, safe use and convenient brightness adjustment. In these films, the photographer's light concept is completely different from the feature film previously shot in the studio. In order to match the style of film realism, the idea of ​​establishing a realistic light structure is also maintained in the concept of lighting. All the photographers must have realistic light for the interaction between the development of the film lighting and the use of photography. Be very cautious in the range and intensity of lighting, try to avoid the traces of light, and maintain the existing light structure. The change in the concept of light has prompted photographers to more closely observe the changes in the texture and intensity of different light conditions in a real-world environment, in order to get as close as possible to the actual ambient light effect in the photographic light. Photographer Carol in "The Biker" released in 1948? Carlo Montuori is based on the principle of using the light as much as possible. Unless it is not bright enough or the distance between the light and dark is too large and the film's tolerance is exceeded, the artificial lighting will be used carefully according to the light source at the shooting site. And try to reduce the traces of artificial light in the picture. (Ref., when adding light to the front of the character, try to use the oblique side high angle to avoid the light falling on the back wall, affecting the original brightness relationship.) Although the light effect of this natural light effect may already be Film creators existed in their hearts, but they began to practice with the support of tungsten incandescent lamps and a host of other technical conditions.

With the use of large aperture lenses and high-sensitivity films in film shooting, smaller power tungsten filament incandescent lamps have become more widely used, and film shooting has been expanded. In addition to direct light, more reflected light and diffused light effects are applied to the lighting techniques of live shooting. The representative of the French New Wave movie "Exhaustion" is a typical film taken in real scene using diffuse light techniques. Since they are all shot in real scenes, some rooms even have a space of 1 to 2 meters without the space for professional lighting. So photographer Raoul? Raoul Coutard used his homemade irons to learn from his documentary experience and installed several reflective tungsten incandescent bulbs for photo photography, so that it would scatter directly onto the tin-coated ceiling. This reflected light is very effective for the photographic light of the film, and it also provides a holistic soft light that simulates a light source emitted at a specific location - such as light coming in through a window. It gives the director a great deal of freedom in the scheduling of the camera and also allows the actor to perform more impromptu performances.

Iphone Snap3D is a bare-eye VR viewer in phone case shape. When you cover it on smartphone screen, you can enjoy 3D videos and games without wearing 3D glasses or VR headset. Mplayer3D App should be used together with the Snap3D, to search for 3D videos, 3D images, 3D games from Youtube, or search within the resources which are connected to Maplayer3D. This unique technology is the lenticular lens on phone case, and the Maplayer3D App keeps tracking user's viewing position, to ensure screen stabilization. Iphone Snap3D is a easy-to-use 3D device, to let you enjoy premium quality of 3D contents whenever and whereever you like. It's light weight, easy to carry as well. When you don't use it to watch 3D contents, you can just put it at the back of smartphones, use it as a protective phone case. 

Iphone Snap3D

Iphone Snap3D,Snap 3D Viewer,Simple Snap 3D,Iphone Simple Snap 3D

iSID Korea Co., Ltd , https://www.isidsnap3d.com

Posted on