Repaso

lunes, 9 de septiembre de 2019 13:15

Pronombres sujeto Determinantes posesivos

I My
You Your
He His
She Her
It Its
We Our
You Your
They Their

Pronombre objeto Pronombres posisivos

Me Mine
You Yours
Him His
Her Hers
It Its
Us Ours
You Yours
Them Theirs

Auxiliares
To be –ser y estar Continuos (-ing)
To do – hacer
To have – tener, tomar... Perfectos (-ed o irregular)

To be To do – did – done
Present To have – had – had
I am
You are
He/she/it is
We/you/they are
Past
I was
You are
He/she/it was
We/you/they were

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Vocabulary randoom
jueves, 19 de septiembre de 2019 9:20

Realize: darse cuenta

Fly (presnt) – flown (participle)
Shots
Pan: paneo
Whip pan: paneo rápido
Zoom push in: pull out: zoom in/out
Slow push in/out: Zoom in o out lento
Tilt paneo vertical
Dolly: travelling
Reverse dolly zoom: traveling y zom inverso
Pedestal shot: traveling vertical
Crane or boom shot: grua
Stedicam: camara en mano estabilizada
Handheld: camara en mano
On sticks: sobre tripode
Transitions and cuts
Cuting an action
Cat away: inserto de una imagen que no tiene porque estar en el mismo escenario
Cross cut: montaje paralelo
Inter cut: montaje paraleo
Jump cut
Mach cut: corte por coincidencia entre dos planos. Por coincidencias verbales.
Fade in/out
Disolve
Smash cut. Montaje por contraste por choque
Iris:
Wipe: cortinillas
Invisible cut
L cut: encabalgamientos de audio del sonido del plano anterior se mete en el siguiente
J cut : encabalgado de audio del plano anterior
Seamless: seam: costuras less: sin. Que no se vean las uniones fluido
Depth of field: profundidad de campo
Blur effect: efecto desenfoque
Focal lenght: distancia focal
Tracks: vías
Traking shot: plano de seguimiento
Shaky: agitado, que se mueve
Spacial warp: sensacion espacial, la sensacion espacial se distorsiona.

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Shot Vocabulary
jueves, 3 de octubre de 2019 9:07

Size shot
https://www.studiobinder.com/blog/ultimate-guide-to-camera-shots/
establishing shot – plano de situación
extreme Long Shot (ELS) or Extreme Wide Shot (EWS) - grandes planos generales
Long Shot (LS) or Wide Shot (WS) - planos generales
Framing
Over-The-Shoulder Shot (OTS) - escorzo
5 motivos
Focused direction -

Inglés página 3
Movie Crew
miércoles, 16 de octubre de 2019 13:05

Art https://filmincolorado.com/resources/job-descriptions/
Production designer
The production designer works with the director and is primarily responsible for the design and overall visual “look”
and “feel” of a movie (la estética). This includes the use of costumes, landscapes, props (atrezzo) and other visual
scenery that could reflect the movie script.
Art director
The art director works with the production designer and is responsible for the design and construction of a movie set.
They are essentially assistants to the production designer and help construct the “look” and “feel” of the movie.
Prop maker
Prop makers and sculptors construct unique and specialized set props that are too difficult to attain , or too expensive
to buy. This person builds these needed props from scratch (desde cero) using various materials that may include
styrofoam (poriespan), plastics, electronics, metals, woods or glass types of materials. This person is usually skilled in a
wide variety of machining, construction and sculpting techniques.
Prop Master
The prop (attrezo) master acquires, organizes, maintains and accounts for all the various props needed for the
production (gestiona y crea). A prop is basically any set decoration piece that can be moved readily easily. This includes
many items like guns, knives, books, phones, dish-ware, food, musical instruments, pets or any other item that needs to
be present to fulfill the story line.
Builder
The construction coordinator supervises the fabrication and physical integrity of the various sets needed as directed by
the production designer and art director. This person is also in charge of budgeting and ordering the needed materials
for the set designs. The construction coordinator may also be responsible for hiring the carpenters.
Dresser
The set decorator makes the decisions on what furnishings and other decorations are going to be used on set (viste y
atrezza el decorado). This person works closely with the art director and production designer to create the optimal
visual environment for filming. This may include various items such as paintings, fabrics, and other non movable
decorative set pieces.
Painter
The scenic artist is in charge of designing and treating all of the set surfaces. This may include painting, plastering,
coloring, texturing or applying any other sort of treatment to the set surfaces to create a look. Often times the scenic
artist simulates stone, wood, lettering, metallic or brick on the various sets and scenery.
Storyboard Artist
The storyboard artist creates a series of illustrations and sketches based on the director’s vision during pre -
production. Each sketch represents a different camera set-up. These drawings usually include camera angles, characters
and set design. The illustrations are then used to assist the other head departments in understanding their tasks.

Camera department
Director of Photography
The director of photography (D.P.) is in charge of the overall visual look of the film, as seen through the camera . They
recommend which cameras and lenses to use for the production. They design the shot’s framing, and the camera
movements in conjunction with the director. They are also in charge of the camera crew, lighting design and
collaborating with the gaffer.
Camera Assistant (1st AC)
The 1st AC is the chief assistant to the camera operator. The 1st assistant camera person is in charge of measuring and
pulling focus during filming. The 1st AC also threads (enhebrar los rollos) the film through the camera when a new
magazine is loaded. This person also helps setup and build the camera, as well as maintain and clean the camera and
lenses.
Camera Assistant (2nd AC)
The 2nd AC is also known as the loader. The 2nd assistant camera person is primarily responsible for loading and
unloading the new rolls of film into the different magazines, as well as maintaining and filling out all the camera reports
(parte de cámara) for the film lab. This person also runs (gestionar/encargarse) the slate or clapper (claqueta) to
maintain sync and the correct labeling for each and every shot.
Camera Operator
The camera operator physically controls and operates the camera during filming, under the direction of the D.P.
(Director of Photography). The camera operator works closely with both A.C.’s as well. The camera operator controls the
shot’s framing, and the camera movements as instructed by the director of photography.
Camera Operator (Aerial)
Camera Operator (Jib Arm / Crane)
Data Wrangling
This is a relatively new job position that has been created in response to the popular use of digital video formats. The
data wrangler is usually responsible for organizing, labeling, downloading, duplicating and reformatting the digital
storage disks for use on set and the editing room.
Digital Imaging Technician
This is another new job position that was created in response to the popular use of high-end digital video formats. The
digital imaging technician uses various image manipulation methods to achieve the highest possible image quality during
the production. This person usually manages the transferring and storage of the image data as well.
Photographer / Production Stills
This person takes still photographs and essentially documents the behind-the-scenes making of the production. Often,
this person photographs images used for marketing purposes such as movie posters and DVD box art.
Videographer
This person creates the video that essentially documents the behind-the-scenes making of the movie. This video isn’t
normally used in the final version of the film. It’s only used for the purposes of documentation.
Steadicam Owner / Operator
The steadicam is a camera mounting device that utilizes a mechanical arm attached to a body harness to provide
extremely smooth hand-held shots. The steadicam operator is responsible for setting up and operating the steadicam
during production. Most steadicam operators are very physically fit due to the amount of strength and endurance
needed to operate the steadicam.
Lightning & Grip Department
Gaffer
The gaffer is also known as the chief lighting technician. This person is primarily responsible for developing a lighting
plan according to the desires of the Director of Photography. The gaffer informs the best boy and key grip on where and
which lights are to be placed. The gaffer is in charge of creating the best possible lighting scenario according to the
camera framing.
Best boy
The best boy is the lead electrician on set and is in charge of all the other electricians, similar to how the key grip is in
charge of all the grips. The best boy usually operates, adjusts and balances the electrical load on the generator where
required. This person is also responsible for distributing the electrical cabling properly providing the required power to
each of the lights.
Electrician
The electricians (or juicers) essentially set up and operate all the lighting instruments and cabling as instructed by the
best boy or gaffer. This is a physically demanding job due to (debido a…) the large number of heavy lights and cabling
often required. Electricians must be knowledgeable of tungsten and HMI lighting as well as changing and installing bulbs
properly.
Key Grip
The key grip is the lead grip on a film set and in charge of all the other grips. The key grip and best boy collaborate with
the gaffer and D.P. to formulate the best tactic for accomplishing a given shot. The key grip oversees the proper camera
rigging mechanisms (estructuras fisicas que posicionan las luces en truss) as well as manages the light blocking and
diffusing techniques.
Grip
Grips essentially “shape the light” that is provided by the electricians. This includes creating pattern and shadow
effects, coloring light, diffusing light or blocking light. While electricians set up the lights and cabling, grips provide
everything else that is built around the lights to create the quality of light that the gaffer desires. They also provide a
variety of special rigging, securing and safety measures on set.

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variety of special rigging, securing and safety measures on set.
Makeup & Wardrobe Department
Costume Designer
The costume designer makes decisions on which wardrobes and costumes actors will wear based on the script
requirements and character portrayals. Costume designers create or choose various clothing patterns, designs, colors,
sizes and accessories for each wardrobe used during production. On larger movies, the costume designer has several
assistants helping to organize, disperse and maintain all the costumes used by the cast.
Wardrobe Stylist
The wardrobe stylist works closely with the costume designer, and assists with preparing everything related to the
actors clothing, costumes and wardrobe. Common tasks of the wardrobe assistant are maintaining and styling for all
the wardrobes worn by the various actors. They also assist in helping to organize, disperse and account for all the
costumes used on set.
Hair Stylist
This person is responsible for styling and maintaining the talent’s hair throughout filming . The hair stylist is usually
equipped with all of the appropriate supplies needed for the hair styling process. The hair dresser works in conjunction
with the make-up artist to attain the best possible look for the actors and actresses.
Makeup Artist
The makeup artist’s main task is to apply and create a variety of looks on the actors and actresses skin surfaces with
makeup, from current trends to classic or period pieces. The makeup artist creates a look according to the director’s
desires, often inspired by the characterizations in a story.
Special FX Makeup
The prosthetics or special effects makeup person uses a variety of techniques for applying and gluing different
materials such as latex, gelatin and other colorations which are used on the face or skin of an actor. Gore and blood,
burns, creatures and aging special effects are the more commonly used prosthetic makeup techniques.
Production and direction Deparment
1º Assistant director
The 1st assistant director works with both the production manager and the director to make the shooting schedule
efficient as possible. The 1st A.D. breaks the script down (desglosa el guión) into a shooting schedule (plan de rodaje)
and also helps manage the scheduling of talent, crew and equipment needed for each shooting day . This person
sometimes helps direct the background extras in a scene.
Assistant Director / 2nd AD
The 2nd A.D. works directly with the 1st A.D. to accomplish their duties. The call sheets (ordenes de trabajo o de rodaje)
for each shooting day are created by the 2nd assistant director. The 2nd A.D. also helps manage the scheduling of
talent, crew and equipment that is needed for each day. This person also assists in directing the background extras in
a movie scene.
Director
The director is the leading creative artist on a movie set. The director works directly with the actors on their
performances and has final creative control on almost every aspect of the film . The director plays a large role in
casting, script revisions, shot composing and even editing. Usually, the director is hired (contratado) by the producer of
the film.
Line Producer
The line producer supervises the entire budget of the movie. Expenses may include celebrity salaries as well as daily
costs like location and equipment rentals. The production manager reports to the line producer the current expenses
and needs of the production on an ongoing basis (de forma continua).
Producer
The producer helps organize the entire production. This person helps develop the script into a workable project. They
assist with the hiring of actors and key crew members, while keeping track of finances throughout the production. The
producer oversees script progress and often assists in creating final distribution plans for the movie.
Production Assistant
Many individuals start their careers in the film industry as a production assistant. A production assistant usually does any
general duty or minor task that the production heads may need. Basic duties may include dispersing walkie -talkies,
setting up pop-up tents and tables, running basic errands as needed or attaining any other last -minute item that the
production might need. It is essential that the P.A. has their own transportation to perform these various errands.
Production Coordinator
A production coordinator is responsible for coordinating the “behind the scenes” logistics, which can include renting
equipment, hiring crew members, and coordinating talent. In addition, this crew member may handle the paperwork
needed to organize the production. For this reason, the production coordinator is an important crew member in
ensuring a production’s goals are on budget and on time.
Production Designer
The production designer works with the director and is primarily responsible for the design and overall visual “look” and
“feel” of a movie. This includes the use of costumes, landscapes, props and other visual scenery that could reflect the
movie script.
Production Manager
The production manager works closely with the production coordinator. This person helps supervise the organization
and distribution of the production budget, crew & equipment scheduling, salaries, day rates, and other office related
paperwork. This person reports budget needs to the line producer, while trying to keep the production under budget on
a day to day basis.
Production Secretary
The production secretary is the assistant to the production manager. This person assists with the paperwork for the
crew & equipment scheduling, timecards & invoicing, crew deal memo’s and other related office materials. The
production secretary usually helps complete most of the paperwork needed to properly finish the production.
Sound Department
Boom Operator / Utility
This person is responsible for properly positioning the microphone boom pole during the actual filming. The boom
operator is the assistant to the sound mixer. Many times the boom operator is required to hold the boom pole for
several minutes at a time, which can be physically demanding. The boom operator must also be able to follow the actors
movements while staying clear of the camera and lights. This makes it a challenging job for achieving the best possible
audio.
Sound Mixer
The sound mixer for film is head of the sound department and is responsible for leveling, monitoring and recording of
audio during production. The sound mixer decides which microphones to use as well as placements of the microphones.
This person can also mix the various sound tracks and audio signals in real time. A film sound mixer supervises the boom
operator and/or sound utility person.
Script & VTR Department
Script Supervisor / Continuity
The script supervisor works closely with the director by taking detailed notes concerning what has been shot, needs to
be shot, and also notes any deviations from take to take. He/she also makes sure that the dialogue corresponds with
the script. The script supervisor also takes logging notes that are essential in the post production editing process, such as
locating shots and finding the best takes. Many times the script supervisor assumes the role of continuity, ensuring the
consistency between scenes and shots.
Teleprompter Operator
The teleprompter is a device that mounts to the front of the camera and contains a scrolling text for the actor to read
while looking into the lens. This technique is also used by newscasters. The teleprompter operator helps set up the
teleprompter on the camera as well as the computer that provides the scrolling text program. This person is usually
given the script ahead of time so that they can enter it into their computer before arriving on set.
Video Assist Operator
The video assist person operates the VTR (Video Tape Recorder) during production. Most film cameras include a video
tap that allows the VTR to record and instantly playback what was just filmed. Since you can’t review 35mm film without
it getting processed in the laboratory first, this can be an especially useful tool on set. Video assist is the term used to
describe this record and playback process. Reviewing the footage instantly allows the director to confirm performances,
camera focus, framing, choreography and other elements for accuracy (precisión).
Stunts & FX Department
Pyro Technician / Explosives
Sometimes also known as the armorer, this person is primarily responsible for the handling, maintenance and care of
all firearms, weapons and pyrotechnics that are used during filming. This includes all live-action explosives and and
battle scene pyro effects. Pyro technicians are usually trained and certified to handle these dangerous props and
explosives.
Special Effects Coordinator

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Special Effects Coordinator
The special effects coordinator designs and supervises the various effects needed for filming through the use of
mechanical and/or optical illusion techniques. The special effects coordinator provides the visual elements needed
such as recreating weather elements or assisting with props that break, shatter (hacer pedazos), collapse (derrumbar),
burn, smoke or explode. They also provide the special mechanical rigging (las estructuras y arneses) that allows you to
fly an actor.
Special Effects Technician
A special effects technician works under the special effects coordinator and assists in physically creating the visual
elements needed like weather elements, or assisting with props that break, shatter, collapse, burn, smoke or explode.
They also help build the special mechanical rigging that allows you to fly an actor.
Stunt Coordinator
The stunt coordinator manages and coordinates all the dangerous action sequences in a movie that require a
stuntman or stunt performer. The stunt coordinator always follows the appropriate safety regulations during filming to
ensure the safety of every stunt performer. Types of stunts may include jumping, flipping, diving, free -falling, crashing
cars, catching fire, underwater stunts and other dangerous action sequences where stunt doubles are needed.

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Types of shot
jueves, 24 de octubre de 2019 9:20

Camera Shot Size

Extreme Wide Shot (ELS)
An extreme long shot (or extreme wide shot) make your subject appear small against their location.
You can use an extreme long shot to make your subject feel distant or unfamiliar.
Long Shot (LS) / Wide Shot (WS)
The long shot (also known as a wide shot abbreviated “WS”) is the same idea, but a bit closer. If your
subject is a person then his or her whole body will be in view -- but not filling the shot.
Full Shot (FS)
Let your subject fill the frame while keeping emphasis on scenery.
Medium Long Shot (MLS) / Medium Wide Shot (MWS)
A medium long shot (aka medium long shot) frames the subject from roughly the knees up. It splits
the difference between a full shot and a medium shot.
Cowboy Shot (CS)
which frames the subject from roughly mid-thighs up. It’s called a “cowboy shot” because it is used
in Westerns to frame a gunslinger’s gun or holster on his hip.
Medium Shot (MS)
is one of the most common camera shots. It's similar to the cowboy shot above, but frames from
roughly the waist up and through the torso. So it emphasizes more of your subject while keeping
their surroundings visible.
Medium Close Up (MCU)
frames your subject from roughly the chest up. So it typically favors the face, but still keeps the
subject somewhat distant.
Close Up (CU)
Close-up camera shot fills your frame with a part of your subject. If your subject is a person, it
is often their face.
Extreme Close Up (ECU)
An extreme close-up is the most you can fill a frame with your subject. It often shows eyes, mouth
and gun triggers. In extreme close-up shots, smaller objects get great detail and are the focal point.
Establishing shot
An establishing shot is a shot at the head of a scene that clearly shows us the location of the action.
This shot often follows an aerial shot and is used to show where everything will happen.

Camera Framing
Overview
Rather than pointing the camera at the subject, you need to compose an image.
A major consideration for framing is the number of subjects you feature in your shots, and their
physical relationship to each other and the camera.
Single Shot
Single shots can be set and framed in any shot size you like, just as long as there is only one
character featured within the frame.
Two Shot
A two-shot is a camera shot with two characters featured in the frame.
Three Shot
A three-shot features three characters in the frame.
Over-the-Shoulder Shot (OTS)
Another element of camera shots to consider is the perspective of the shot. An over-the-shoulder
shot shows your subject from behind the shoulder of another character. Because it emulates

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shot shows your subject from behind the shoulder of another character. Because it emulates
perspective, it’s common in conversation scenes.
Over-The-Hip Shot (OTH)
An over-the-hip shot is similar to over-the-shoulder in that the camera is placed with a character's
hip in the foreground, and the focus subject in the plane of acceptable focus.
Point-of-View Shot (POV)
A POV shot is a camera shot that shows the viewer exactly what that character sees.

Camera Focus
Overview
You can shift and change points of view as people learn new information, move locations, or switch
perspectives.
Focus Pull
The first assistant cameraman (or “First AC”) will pull focus to make sure that the subject stays
within the acceptable focus range while they move to various depths within the frame.
Rack Focus
A rack focus is an emphasized focus pull, where the acceptable focus range is intentionally shifted
from one subject to another. This is an aggressive use of focus as a story telling device.
Shallow Focus
your subject is in crisp focus while the foreground and background scenery is out of focus. This limits
your depth of field to create emphasis on your subject.
Deep Focus
Everything in your frame is in focus. This is when you need your audience to feel the scenery or
particular scene elements.
Tilt-Shift
A tilt-shift lens rotates perspective within the lens and emulates selective focus. It can make parts of
your image appear in sharp focus while others are out of focus.

Camera Angles
Eye Level Shot
First, consider the most common height: the eye level shot. When your subject is at eye-level they’re
in a neutral perspective (not superior or inferior). This mimics how we see people in real life -- our
eye line connecting with theirs.
Low Angle Shot
This shot frames the subject from a low camera height. These camera shots most often emphasize
power dynamics between characters.
High Angle Shot
In a high angle shot, the camera points down at your subject. It usually creates a feeling of
inferiority, or “looking down” on your subject.
Hip Level Shot
A hip level shot is when your camera is roughly waist-high. (altura de la cintura)
Knee Level Shot
This is when your camera height is about as low as your subject’s knees. They can emphasize a
character’s superiority if paired with a low angle.
Ground Level Shot
A ground level shot is when your camera’s height is on ground level with your subject. Needless to
say, this shot captures what’s going on the ground your subject stands on.
Shoulder-Level Shot
This is when your camera is roughly as high as your subject’s shoulders. Shoulder level shots are
actually much more standard than an eye level shot, which can make your actor seem shorter than
reality.
Dutch Angle Shot
For a dutch angle (dutch tilt), the camera is slanted to one side. With the horizon lines tilted in this

Inglés página 8
For a dutch angle (dutch tilt), the camera is slanted to one side. With the horizon lines tilted in this
way, you can create a sense of disorientation.
Birds-Eye-View Shot / Overhead Shot
An overhead shot is from way up high, looking down on your subject and a good amount of the
scenery surrounding him or her. This can create a great sense of scale and movement.
Aerial Shot / Helicopter Shot
Whether taken from a helicopter or drone, this is a shot from way up high. It establishes a large
expanse of scenery.

Camera Movement
Overview
The way a camera moves can give meaning to what's happening on screen. You can burst into a
room, drone over from on high, pan with a head turn, and dolly-zoom for any revelation.
Static / Fixed Shot
When there’s no movement (i.e. locked camera aim) it’s called a static shot. These camera shots
emphasize the appearance and movement of your subject against its environment, and are
predominantly captured by being placed on a tripod or a dolly that remains static during the shot.
Dolly Shot
A dolly shot is where the camera is affixed to a mechanism called a dolly, which is a specialized push-
cart built to handle heavy cinema cameras. A dolly will often have areas to attach seats for the
camera operator and assistant camera operators to pull focus and control the camera.
Zoom shot
Zoom shots are camera shots that change the focal length of the lens during the shot. This action can
be a zoom out, or a zoom in, but they are different from a push in (or dolly in) because the camera is
rarely changing positions, but simply altering the focal length of the lens.
Dolly Zoom Shot
A dolly/zoom shot is where the camera position and focal length of the lens are simultaneously
altered to create a warping effect.
Pan Shot
Camera pans move the camera side to side on a horizontal axis. This can reveal something to your
viewer or allow them to follow an action.
Tilt Shot
A camera tilt is when you move your camera up and down on a vertical axis. So it’s exactly like a pan,
only vertical.
Whip Pan Shot
Whip Tilt Shot
Tracking Shot
Crab Shot
Arc Shot

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Types of editing
jueves, 7 de noviembre de 2019 8:54

Transitions and cuts

Cuting an action
Cut away: inserto de una imagen que no tiene por qué estar en el mismo escenario
Cross cut (intercut): montaje paralelo
Intercut: montaje paralelo
Jump cut
Montages: se suele utilizar musica para expresar un paso del tiempo que normalmente es bastante
largo y lo resume en una serie de planos.
Mach cut: corte por coincidencia entre dos planos. Por coincidencias verbales, composicion,
acciones..
Fade in/out
Disolve
Smash cut. Montaje por contraste por choque. Abrupt change
Iris: es un efecto de camara y centra la atencion
Wipe: cortinillas
Invisible cut: es un corte que normalmente suele efectuarse sobre negro o en barridos, o con
elementos que pasan por la imagen
L cut: encabalgamientos de audio del sonido del plano anterior se mete en el siguiente
J cut : encabalgado de audio del plano anterior
Seamless: seam: costuras less: sin. Que no se vean las uniones fluido

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Film Script
jueves, 14 de noviembre de 2019 9:32

Economical y direct. Hay que ahorrar palabras y ser directo en la expresion.

1. Header (Slug lines, lineas lanza)
a. Interior exterior
b. Localización
c. Dia o noche
2. Action line (only audiovisual information)
3. Character centrado y mayusculas
4. Dialogue
5. Character parentesis (VO (voice over - voz en off)/OS (off screen, fuera de campo)/into phone)
desde donde se origina o hacia donde se proyecta
6. Dialogue parentesis (emotions/other languajes)
a. Se expecifica cuando la emocion es al contrario de lo que se espera según el contexto
7. Transitions (intercut with)
a. Cuando no es un corte obvio y es importante dramáticamente
b. Intercut (montaje paralelo)
i. Encabezado de una escena en un lugar y despues de la otra y se especifica que es
Intercut
8. Over black (cartelas)

Link de como se expresan en guion los diferentes movimientos

http://www.movieoutline.com/articles/a-glossary-of-screenwriting-terms-and-filmmaking-
definitions.html

Centrar la antencionen algo: diferentes formas de decirlo.

Angle on
Favour on
Close on

• Beat: Pausa en un guión

• In to frame/in to view: cuando un personaje entra en cuadro

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Cinematic Lighting
jueves, 5 de diciembre de 2019 8:57
https://blog.fulltimefilmmaker.com/cinematic-lighting-techniques/

1. The Key Light

The KEY light is your main light that is used to light up your subject. And depending on where you place
this key light will depend on the look, or light pattern that it gives you.
And as we talk about a lot in this course, creating DEPTH is what helps images feel more
cinematic and pop out from off the screen. Be careful though, not all shadows are good. If you
put your light too high, you’ll start to create raccoon eyes on your subject.

5 Different lighting patterns

Flat Lighting
As we move the light directly in front of our subject, we get an even, flat look to our image and this is
called FLAT LIGHTING.

Paramount or Butterfly Lighting

Now If we keep the light in the same spot but just raise it up slightly from the flat lighting position, we
get what is called Paramount or Butterfly Lighting effect.

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Loop Lighting
Let’s now move the light slightly to the side, and you’ll start to see that butterfly shadow turn
into a side nose shadow. This lighting pattern is referred to as LOOP lighting because the nose
shadow creates the shape of a loop on the cheek.

Rembrandt Lighting
As we continue moving the light farther to the side, about 45 degrees from our camera, that
nose shadow connects with the cheek’s shadow creating the lighting pattern Rembrandt
Lighting.
If you position your camera on the brighter side of your subject, this is called BROAD LIGHT.
And If you position your camera on the darker side of your subject, this is called SHORT LIGHT
or the DARK SIDE. It’s most common in cinema to shoot on the short, or “dark” side, as it
creates more drama and depth.
And according to Hollywood director Shane Hurlbut, the FIRST RULE in lighting “Over The
Shoulder” scenes (when you have two subjects talking to each other), is that you should always
place your camera on the dark side of your subjects.

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Split Lighting
Now lets move our key light 90 degrees, or completely to the side of our subject, and we will
see the entire side of the face become shadowed. This is called SPLIT LIGHTING, because it
splits the face in half and this lighting pattern is used to create an even more dramatic look, and
is also popular in Hollywood films, especially during scenes that are meant to be super
dramatic.

2. The Back/Rim/Hair Light

Backlight meaning it lights up the back, or if it’s slightly higher, it becomes more of a hair light,
or if it’s more to the side; a rim light. Backlight as we talk about in the natural lighting video is
commonly used during golden hour, when the sun is low in the horizon and starting to set. So
by using a backlight, we are replicating that golden hour look. Sources of backlight can often
times be practical lights as well, like a window or lamp, or anything in the background that looks
natural to help light up the back of your subject. The purpose of the backlight or rim light is to
create a halo, or rim around the outline of your subject to help separate them from the
background and create depth, shape, and form. You can play with the exact positioning of this
light to create slightly different looks.
Our third and final light in our 3 point lighting set up is the FILL LIGHT.
3. The Fill Light (relleno)
As the name states, the fill light fills in light usually on the opposite side of your key light making
your shadows less dramatic. Depending on the mood of your story and/or scene, you can
choose to use a little or a lot of this fill light. The more fill light you use, the less contrast your
image will have and this is referred to as high key lighting (luz de alta clave, más relleno, todo es
más plano), which is used more in comedies, romances, sitcoms, commercials, beauty shots etc.
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más plano), which is used more in comedies, romances, sitcoms, commercials, beauty shots etc.
It gives a more light hearted, less dramatic look. Whereas, when you have less fill light, it
creates more contrast, referred to as low key lighting (luz de clave baja, menos rellenos, mas
contraste), and is used in more dramatic scenarios and is generally looked at as “more
cinematic” due to the added depth it gives your subject.

Be careful though, unless you’re going for a pitch black background look, you’ll want to make
sure you have some light on your background to give your audience some context as to where
your subject is.
A common lighting pattern that can be created by using a background light is called
checkerboard lighting, which basically means, you lights up the background on the dark side of
the subject, but leaves the background dark behind the bright side of the subject, creating a
checkerboard effect.

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