Before We Dive In…
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Photons
I remember when I was about five or six years old we had an east-facing window in our bedroom.
The window, covered with curtains, let a few sun rays escape and pierce through the cracks.
I was fascinated by this phenomena.
I would put my hand in the way of the light ray and see how the opposing surroundings would illuminate.
The light was actually bouncing off my hand.
I had control over its direction.
This was the moment I first got introduced to the fascinating world of photons.
Photons, the particles that make up light, the single most remarkable thing in this universe.
Later that was to be realized as my love for photography and eventually cinematography.
Quality of light
There are many aspects of lighting that a filmmaker must be familiar with.
Among the favorites are:
- Quality of light (soft, hard)
- Intensity (amount of light)
- Color
- Angle
Today I want to focus on the quality of light.
There are many ways to describe the characteristics that make up the quality of light, but we will narrow in on the soft or hard quality.
I am specifically referring to the falloff of the light as it goes from highlight into shadow.
The bigger that transition from light to dark, the softer the quality of the light.
Imagine those photons falling off further from the source and spreading out more sparsely towards the edges.
The shorter the transition, the harder the light.
To achieve this we need understand how the relative size of the light source to the subject affects the quality of the light.
Here’s an easy way to think about it:
The larger the light source (in relation to the subject) — the more directions the light rays (photons) will be emitted.
Thus we would have soft light.
“But when I’m outside in direct sun, the shadows are harsh on my face. What gives!?”
Great question. Remember that we’re talking about relative size of the light source to the subject.
Yes, the sun is huge, but because it’s so far away, relative to us here on earth the sun is a tiny light source.
And so we have harsh light in direct sun.
Now to soften up that natural light when we don’t have control over relative size, we use what’s called modifiers.
Modifiers
The two main modifiers I want to mention are diffusions and bounces.
A diffusion is typically a piece of fabric stretched over a frame (flag) that you shoot light through to manipulate the quality (color, intensity etc.) of the light.
A bounce is usually a board or a reflector that can soften up a harsh light, fill in the shadow side of the face, and be used in a multitude of ways to get the light into places you intend.
The way you use these modifiers is more important than the brand you purchase.
The Secret
Here’s the biggest cinematic secret nobody will talk about…
It’s about using these tools of modifiers, diffusions, bounces, and filters in combination to craft an intentional image that serves the story.
Always put the story first.
Cinematography is successful when you don’t notice it.
So don’t shoot your film for the beautiful cinematography.
Shoot your film for the beautiful story.
The Takeaway
I’m beyond excited that you’ve made it to the end.
My hope is that you understand the importance of paying attention to light and what’s it’s doing to the surroundings.
But don’t let that be the sole driver of your film.
Make sure that the first intention of your cinematography is to tell the story in the way that it’s begging to be told.
Photons are your friends, but the story is your life partner.
