GFA: Motion Picture Set Lighting I
- Overview
- Course Content
- Requirements & Materials
GFA: Motion Picture Set Lighting I
Course Description
GFA 3020: Motion Picture Set Lighting I equips you with the practical skills and knowledge of electrical distribution and operations of set lighting, as well as the fundamental understanding of lighting theory, necessary to facilitate entry-level jobs in film and television production.
By participating in goal-oriented class projects as a practical demonstration of the topics covered in lectures and assignments, you will be able to demonstrate an understanding of the behavior of light and how to manipulate and control it to feature film standards. Additionally, you will create lighting designs and plots at a professional standard.
Upon completion of this course, you will have a fundamental knowledge that includes, but is not limited to, the equipment, techniques, procedures, terminology, communications, specifications, and hierarchical structure in the professional set lighting department. An emphasis will also be placed on set etiquette, including attitude, professionalism, and technique on and off set.
INTRODUCTION TO THE COURSE
- The structure of the course, student and instructor goals, expectations, and responsibilities
- The structure of the Electric Department: who’s who, job titles, the hierarchy of the department
ELECTRICAL TERMS, DISTRIBUTION, AND THE EQUIPMENT USED
- The basics of electricity: voltage, amperage, wattage, and impedance
- Single phase, triple phase, and AC and DC systems
- Cable gauges
- The ground circuit, the neutral circuit, and the phased circuits
- Electrical meters used
- Balancing the amperage load
- Troubleshooting
- Introduction to the electrical power sources utilized: generators (sizes, putt-putts incl.) and shore power (legal, illegal, power drops)
LIGHTING INSTRUMENTS, LAMPS (BULBS), AND ACCESSORIES USED
- Lamps with lenses and lamps without lenses and their primary uses and industry names
- The types of lenses and reflectors used; the components of the lighting instruments
SET ETIQUETTE AND TECHNIQUE
- Monitoring voltage, amperage, cycles, heat buildup
- Troubleshooting
- How to construct and read a lighting plot
- How to make use of storyboards
- RIGGING AND SAFETY
- The role of the rigging gaffer, rigging best boy, rigging electricians
- The responsibilities of the electrical rigging crew
BASICS OF LIGHTING THEORY
- The laws of physics and how they pertain to light
- How light behaves – reflection, refraction, absorption
- The human eye
- The study of light
- The visible spectrum
CONTROLLING THE QUALITY OF LIGHT
- Hard light and soft light and all in between
- What affects the quality of the light
- Understanding how to reproduce and control the quality of light
- “Giveaways” multiple shadows, two suns/moons, divergent window patterns, too much light on the walls, etc.
CONTROLLING THE COLOR AND THE QUANTITY OF LIGHT
- The color of light
- Color temperature: The Kelvin scale
- Ideal black-body radiator
- Cosmetic colors, party colors, etc.
- White light – additive color
THE RELATIONSHIP BETWEEN LIGHT AND THE CAMERA & LENSES; THE ESSENTIAL WORK OF THE GRIPS
- A brief introduction to the camera
- Film cameras, digital cameras
- Lenses and their uses
- Understanding contrast regarding the image capture medium and lenses
EFFECTS, COMPOSITE WORK, TRANSLITES -- HOW’D THEY LIGHT IT?
- Lighting for effects: fire, lightning, TV/computer screens, explosions, water ripple, green screen and composite work, reflective objects, police/fire/ambulance sirens, etc. and the equipment used to facilitate such effects
- Translites and backings on stage
- Photographs
HOW TO APPROACH AND HANDLE VARIOUS SITUATIONS
- Practical locations: D/ext, D/int, N/ext, N/int. Night for day, day for night
- Stage sets: D/ext, D/int, N/ext, N/int
ARTISTIC/AESTHETICS – WHO, WHY, WHAT
- The relationship between the Gaffer (Chief Lighting Technician) and the Director of Photography
- Discussions include quantity (light levels), quality, color, etc.
- Breaking down the script for artistic and aesthetic applications
WORKING WITH OTHER DEPARTMENTS; PREP AND WRAP
- How can the Art Department affect and help?
- Set issues to consider: enough space in the stage for expected lighting style, translites, window and door placements, wild walls, wild ceilings, practical light fixtures, built-ins, location/stage schematics, tonal values, outlet placement, etc. Construction: set pieces for depth, cable troughs, stage risers, etc.
- How the Location department can help
- Access permits and approval for generator, condor and scaffolding placements, adjoining property access, cable paths, street/lane closures, rigging/wrap days, shore power access, sprinkler systems, practical light operation (streetlights, fluorescents), staging areas, etc.
CAREER DEVELOPMENT, FIELD TRIPS AND/OR GUEST SPEAKERS
- Visits to local electric rental houses: MBS Lightings, The Rag Place, Chapman Cranes and Dollies, as available
- Visit and explore generators and electric vehicles: forty footers, stake beds, gators, trailers, etc., as available
Important Information
Online Platform: Account Setup
Classes will be hosted online via Desire 2 Learn (D2L). USG ITS (University System of Georgia – Internet Technology Services) will create your D2L account. You will receive an email from the USG with the subject line of “GoVIEW-Georgia Virtual Instruction Enterprise Wide: Enrollment Confirmation” which will contain your username, log-on instructions, and D2L Help Desk contact information.
First Day of Class
Your first class meeting will be online via teleconference during your scheduled class meeting day and time. Prior to the first day, your instructor will send you the link to join the class teleconference.
Online Platform: Access
To access your course section(s), you will need to log onto Georgia GoVIEW. We encourage you to make sure you are able to log on BEFORE the first day of class so the USG ITS can troubleshoot any access or technical problems.
Prerequisites
Recommended
- Set Lighting Technician’s Handbook: Film Lighting Equipment, Practice, and Electrical Distribution by Harry Box (ISBN-13: 978-0240810751)
Required
Materials
Required
- Laptop or desktop computer (PC or Mac) with Internet Access
- Access to a printer
- Work gloves
- Multi-tool
- Pen, pencil, notepad
- Closed-toe shoes
- Clothing appropriate for physical labor
Provided
- All content presented in class, including the syllabus and requirements for the Georgia Film Academy (GFA) Internship program, will be in the D2L online learning system. Any students unable to access materials should email GFA’s Manager of Curriculum and Instruction, Dan Kelly, at dan.kelly@USG.edu for access, and please include the following information:
- Instructor
- Day/Time of Class
- Location of Class
- Home Institution
Who Should Attend
This course is designed for students who want the practical skills and knowledge of electrical distribution and operations of set lighting, as well as the fundamental understanding of lighting theory, necessary to facilitate entry-level jobs in film and television production.
What You Will Learn
- Basic lighting equipment, including instruments, stands, and rigging
- Basic techniques for manipulation of lighting
- How to create lighting designs and plots at a professional standard
- The various job descriptions and hierarchy of the electric department on a professional film/television production
How You Will Benefit
- Demonstrate standard safety procedures for electric department environments.
- Have a fundamental knowledge that includes, but is not limited to, the equipment, techniques, procedures, terminology, communications, specifications, and hierarchical structure in the professional set lighting department.
- Demonstrate an understanding of the behavior of light and how to manipulate and control it to feature film standards.
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Taught by Experts in the Field
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Grow Your Professional Network
The course schedule was well-structured with a mix of lectures, class discussions, and hands-on exercises led by knowledgeable and engaging instructors.
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