The Roles of Modern Technics in Shooting the Cinematic Scenes with low Illumination

Author

Lecturer at the Faculty of Applied Arts / October 6 University Department of Photography, Film and Television

Abstract



Abstract
There is relationship between the light and shadow, or light and darkness. The
cinematographers might do either the effects for dramatic purpose. But shooting in places
with low illuminations produce images with low exposure appears in the film characteristic
curve in toe area. Usually the reason behind the shooting in locations with low illumination is
either a result of using less lighting units because of low production or to give a specific
effect through shooting needs to use lighting sources with low illumination. This cause
usually spaces with low exposure in the areas of darkness and shadows, and the result would
be the loss of details and colours in these areas (spaces). The study aims to solve this problem
in the scene which has been shooted in locations with low lighting. it aims also to show the
role of lenses with high speeds and cameras with high dynamic range and their relationship < br />with recording the details in low exposure spaces. The importance comes from studying the
modern technics which helps cinematographer to record the details of the scene with low
lights and to adjust the correct exposure. Obtain an image with clear details to serve the film
drama. The cinematographic equipment’s have a big technological improvement including
cinematographic digital cameras with high dynamic range, and high speed lenses which can
reactive minimum light. This was not available before.
Journal of Applied Art and Science - International Periodical Scientific Peer Reviewed - Issued By Faculty of Applied Arts - Damietta Univ. - Egypt
341
Abstract
There is relationship between the light and shadow, or light and darkness. The
cinematographers might do either the effects for dramatic purpose. But shooting in places
with low illuminations produce images with low exposure appears in the film characteristic
curve in toe area. Usually the reason behind the shooting in locations with low illumination is
either a result of using less lighting units because of low production or to give a specific
effect through shooting needs to use lighting sources with low illumination. This cause
usually spaces with low exposure in the areas of darkness and shadows, and the result would
be the loss of details and colours in these areas (spaces). The study aims to solve this problem
in the scene which has been shooted in locations with low lighting. it aims also to show the
role of lenses with high speeds and cameras with high dynamic range and their relationship < br />with recording the details in low exposure spaces. The importance comes from studying the
modern technics which helps cinematographer to record the details of the scene with low
lights and to adjust the correct exposure. Obtain an image with clear details to serve the film
drama. The cinematographic equipment’s have a big technological improvement including
cinematographic digital cameras with high dynamic range, and high speed lenses which can
reactive minimum light. This was not available before.

Main Subjects



المراجع:
-1 إتدددددددون، جدددددددورج. ) 2٠٠2 (. کیمیددددددداء التصدددددددویر
الفوتدوغرافی للفدیلم الأبدیض والأسدود والفدیلم الملدون
)ترجمدة: سدعد عبدد الدرحمن(. الهیئدة المصدریة العامددة
للکتاب: ج.م.ع.
-2 راضددی، مدداهر. فددن الضددوء. منشددورات وزارة الثقافددة-
.2٠٠5 ، المؤسسة العامة للسینما، سوریا، الفن السابع 91
3- Andersson, B and Geyen, J. (2012). The
DSLR Filmmakers Handbook: Real-World
Production Techniques. Sybex: Canada.
4- ARRI Lenses, Consistency, Choice,
Creativity.(2014).http://www.Kino.camera/ca
t/arri-lenses-brichure.pdf.
5- Image Sensor Architectures for Digital
Cinematography.
http://www.teledynedalsa.com. DOI:03-70-
00218-01.
6- James, J. (2006). Digital Intermediates for
Film and Video. Focal Press: Oxford.
7- Jeppsen,M.(2010).RED Epic vs. ARRI
Alexa Dynamic Range Charts. www.
provideocoalition.com.
8- McCann,J. (2005). Perceptual rendering of
HDR in painting and photography. In human
Vision and Electronic Imaging
conference.Vol.6806.
9- Salvaggio, N. (2008) . Basic Photography
Materials and Processes. Focal Press: UK.
10- Stump, D. (2013). Digital
Cinematography: Fundamentals, Tools,
Techniques, and Workflows. ASC, Focal
Press: UK.
11- Titus, H. (2001). Imaging Sensors: that
Capture your Attention. Kodak co, NY.
12- Ultra 16 Lenses: A Complete set of
Modern Super 16 High Speed Primes.
(2008).
www.nocinc/filmdigital/commen/pdf/ultra
16.catalog.pdf
13- www.panavision.com.
14- www.red.com/learn/red-101/hdrx.
Journal of Applied Art and Science - International Periodical Scientific Peer Reviewed - Issued By Faculty of Applied Arts - Damietta Univ. - Egypt
340
المراجع:
-1 إتدددددددون، جدددددددورج. ) 2٠٠2 (. کیمیددددددداء التصدددددددویر
الفوتدوغرافی للفدیلم الأبدیض والأسدود والفدیلم الملدون
)ترجمدة: سدعد عبدد الدرحمن(. الهیئدة المصدریة العامددة
للکتاب: ج.م.ع.
-2 راضددی، مدداهر. فددن الضددوء. منشددورات وزارة الثقافددة-
.2٠٠5 ، المؤسسة العامة للسینما، سوریا، الفن السابع 91
3- Andersson, B and Geyen, J. (2012). The
DSLR Filmmakers Handbook: Real-World
Production Techniques. Sybex: Canada.
4- ARRI Lenses, Consistency, Choice,
Creativity.(2014).http://www.Kino.camera/ca
t/arri-lenses-brichure.pdf.
5- Image Sensor Architectures for Digital
Cinematography.
http://www.teledynedalsa.com. DOI:03-70-
00218-01.
6- James, J. (2006). Digital Intermediates for
Film and Video. Focal Press: Oxford.
7- Jeppsen,M.(2010).RED Epic vs. ARRI
Alexa Dynamic Range Charts. www.
provideocoalition.com.
8- McCann,J. (2005). Perceptual rendering of
HDR in painting and photography. In human
Vision and Electronic Imaging
conference.Vol.6806.
9- Salvaggio, N. (2008) . Basic Photography
Materials and Processes. Focal Press: UK.
10- Stump, D. (2013). Digital
Cinematography: Fundamentals, Tools,
Techniques, and Workflows. ASC, Focal
Press: UK.
11- Titus, H. (2001). Imaging Sensors: that
Capture your Attention. Kodak co, NY.
12- Ultra 16 Lenses: A Complete set of
Modern Super 16 High Speed Primes.
(2008).
www.nocinc/filmdigital/commen/pdf/ultra
16.catalog.pdf
13- www.panavision.com.
14- www.red.com/learn/red-101/hdrx.
Journal of Applied Art and Science - International Periodical Scientific Peer Reviewed - Issued By Faculty of Applied Arts - Damietta Univ. - Egypt
340
المراجع:
-1 إتدددددددون، جدددددددورج. ) 2٠٠2 (. کیمیددددددداء التصدددددددویر
الفوتدوغرافی للفدیلم الأبدیض والأسدود والفدیلم الملدون
)ترجمدة: سدعد عبدد الدرحمن(. الهیئدة المصدریة العامددة
للکتاب: ج.م.ع.
-2 راضددی، مدداهر. فددن الضددوء. منشددورات وزارة الثقافددة-
.2٠٠5 ، المؤسسة العامة للسینما، سوریا، الفن السابع 91
3- Andersson, B and Geyen, J. (2012). The
DSLR Filmmakers Handbook: Real-World
Production Techniques. Sybex: Canada.
4- ARRI Lenses, Consistency, Choice,
Creativity.(2014).http://www.Kino.camera/ca
t/arri-lenses-brichure.pdf.
5- Image Sensor Architectures for Digital
Cinematography.
http://www.teledynedalsa.com. DOI:03-70-
00218-01.
6- James, J. (2006). Digital Intermediates for
Film and Video. Focal Press: Oxford.
7- Jeppsen,M.(2010).RED Epic vs. ARRI
Alexa Dynamic Range Charts. www.
provideocoalition.com.
8- McCann,J. (2005). Perceptual rendering of
HDR in painting and photography. In human
Vision and Electronic Imaging
conference.Vol.6806.
9- Salvaggio, N. (2008) . Basic Photography
Materials and Processes. Focal Press: UK.
10- Stump, D. (2013). Digital
Cinematography: Fundamentals, Tools,
Techniques, and Workflows. ASC, Focal
Press: UK.
11- Titus, H. (2001). Imaging Sensors: that
Capture your Attention. Kodak co, NY.
12- Ultra 16 Lenses: A Complete set of
Modern Super 16 High Speed Primes.
(2008).
www.nocinc/filmdigital/commen/pdf/ultra
16.catalog.pdf
13- www.panavision.com.
14- www.red.com/learn/red-101/hdrx.