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My inspiration for my script

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Bailey Zimmerman - Rock and A Hard Place (Lyric Video)

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21/09/24

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How to Write an Essay: 4 Minute Step-by-step Guide | Scribbr 🎓

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10/11/24:

Today i researched what a lighting director does in terms of the production and found out how to change a regular studio floor into a theatrical space.

I can now change the colour of the lights without the use of gels on the floor to help me get the look I'm wanting to achieve.

In terms of the studio project i know have a clearer plan of how i want the lights to look in the introduction and the main lights throughout the show

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Lighting director in the unscripted TV industry

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WHAT DOES A LIGHTING DIRECTOR DO?

In the film industry, the lighting director is responsible for the look and feel of the images that make up a movie. Lighting directors need to be knowledgeable about a wide range of lighting equipment to achieve the desired mood, atmosphere, and effects required in each scene. They also are charged with helping actors look right for their parts.

While we primarily think that the lighting director is only used for interiors or nighttime shoots, in actuality they also are responsible for achieving the look and feel of scenes shot outdoors in the daytime. In fact, this can be as difficult, if not more so than locations that depend entirely on artificial light. In the nighttime or interior shots where all lighting must be supplied, it is possible to "paint the scene" with the proper placement of lights. In daytime exterior shots, the lighting director may be faced with shooting into the sun (massive backlighting) yet finding ways to light the actors through the use of reflectors or HMI lights.

Often, the director of photography (cinematographer) acts as the lighting director, in which case he works closely with the director to achieve the look, feel, and mood of each shot. In other productions, there may be a designated lighting director who works closely with the director of photography. In these situations, the lighting director reports to the Director of Photography, who in turn works with, and reports to, the Director.

WHAT SKILLS DOES THE LIGHTING DIRECTOR NEED?

In addition, to understand the different types of lighting equipment and accessories and how to use them, a lighting director needs to be comfortable working at heights, be willing to work long hours, enjoy traveling, and in some cases, have a valid commercial driving license.

The lighting director must also understand electricity. In addition to determining how much electricity will be required to light a scene, the lighting director must be able to figure out where to get the required electrical power. Most film productions use multiple lights, each of which may be 4000-Watts or more. Considering even a small 1500-Watt lamp is enough to max out a normal household electric circuit, this means power requirements on a film set are quite large. For that reason, film lighting very often requires special power sources-whether tapping a 220 circuit or using high-powered generators. In addition, the lighting director must get the electricity from the power source to the lights. This involves the use of plug-in boxes, ballasts, batten strips, pigtails, breakouts, buses, and more.

The most basic method of lighting is three-point lighting, commonly used in filming on-screen talent. It uses a key light, a fill light, and a backlight. The key light and fill light illuminate the face of the actor in a way that gives it contours (as opposed to flat lighting) and the backlight helps separate the actor from the background. While this is a tried and true method of lighting, it is not very dramatic and works best in a controlled environment like a studio.
Most scenes require lighting than is infinitely more complex than the traditional three-point lighting system. Lighting directors are experts at shaping and defining light in many ways. These include the color temperature of the light, devices such as scrims, barn doors, flags, accent lights, cone lights, dimmers, follow spots, reflectors, shiny boards, and more to determine the intensity of the light, the direction of the light, the color of the light, the softness or hardness of the light, and what gets lit and what doesn't.

In short, the lighting director must be a one-part artist who paints with light (or absence of light) through a thorough understanding of light and shadow and a one-part electrical contractor who understands amps, volts, wiring, and single and three-phase electric power.

Related: Learn about being a Gaffer.

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WHAT DOES A LIGHTING DIRECTOR DO? | Film Connection

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In the film industry, the lighting director is responsible for the look and feel of the images that make up a movie. Lighting directors need to be knowledgeable about a wide range of lighting...

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I watched the episode on which this scene recreation takes place to gain more context and perspective on how the scene should be played out

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For happy valley 2, I watched the whole episode on BBC Iplayer to help me get a better handle on how the script works together with the characters.

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·        Aspler, J., Harding, K.D. and Cascio, M.A. (2022) ‘Representation matters: Race, gender, class, and intersectional representations of autistic and disabled characters on television’, Studies in Social Justice, 16(2), pp. 323–348. doi:10.26522/ssj.v16i2.2702.

·        Connolly, M. (2023) Shifting disability representation and portrayal in film and television, DigitalCommons@SHU. Available at: https://digitalcommons.sacredheart.edu/acadfest/2023/all/16/ (Accessed: 02 December 2024).

·        Foss, K.A. (2013) ‘(DE)stigmatizing the silent epidemic: Representations of hearing loss in entertainment television’, Health Communication, 29(9), pp. 888–900. doi:10.1080/10410236.2013.814079.

·        Foss, K.A. (2014) ‘Constructing hearing loss or “deaf gain?” voice, agency, and identity in Television’s representations of D/Deafness’, Critical Studies in Media Communication, 31(5), pp. 426–447. doi:10.1080/15295036.2014.968603.

·        Huang-Horowitz, N., Peterson, H. and Furey, L. (2024) ‘Exploring the media discourse of neurodiversity and neurodivergent individuals: A step toward discovering possibilities for all people’, Western Journal of Communication, pp. 1–21. doi:10.1080/10570314.2024.2395314.

·        Jones, S.C. (2022) ‘Hey look, I’m (not) on TV: Autistic people reflect on autism portrayals in entertainment media’, Disability &amp; Society, 39(6), pp. 1484–1501. doi:10.1080/09687599.2022.2150602.

·        Montgomerie, M.A. (2010) ‘Visibility, empathy and derision: Popular television representations of disability’, Alter, 4(2), pp. 94–102. doi:10.1016/j.alter.2010.02.009.

·        Nordahl-Hansen, A.N.-H. (2017) Atypical: A typical portrayal of autism? - the lancet psychiatry, The Lancet Psychiatry. Available at: https://www.thelancet.com/journals/lanpsy/article/PIIS2215-0366(17)30397-8/abstract (Accessed: 02 December 2024).

·        Person, Guy, R. and Cumberbatch, N. (2022) Images of disability on television: Guy Cumberbatch, Ralph Negrine |, Taylor & Francis. Available at: https://doi.org/10.4324/9781003341031 (Accessed: 02 December 2024).

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·        Ross, K. (1997) ‘But where’s me in it? disability, broadcasting and the audience’, Media, Culture &amp; Society, 19(4), pp. 669–677. doi:10.1177/016344397019004009.

·        Stark, I. (2020) Representations of autism in popular media: Rhetorical disability in the good doctor, Angelo State University Digital Repository. Available at: https://asu-ir.tdl.org/items/46e45c92-244c-4f9c-86e7-ed96be0cfbce (Accessed: 02 December 2024).

·        Worrell, T.R. (2016) The ethics of disability representations on television: 20: Health C, Taylor & Francis. Available at: https://www.taylorfrancis.com/chapters/edit/10.4324/9781315586335-20/ethics-disability-representations-television-tracy-worrell (Accessed: 02 December 2024).

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This is my LinkedIn page

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750 million+ members | Manage your professional identity. Build and engage with your professional network. Access knowledge, insights and opportunities.

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As ive been researching different showreels for as inspiration for my own, this one stood out to me. What i liked about it is that there's multiple different genres like drama and comedy. The only thing i don't like about it is that there were very little motions graphics and it was quite slow paced. In my opinion, showreels should be quick and snappy and engaging with the audience, this did not feel like that.

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What i enjoyed about this showreel is that there were multiple different clips within one piece and it wasn't a long dragging scene, it was quick, engaging and catching to the eye, it showed multiple different genres like live action, animation and short films. I did not like the music chosen for the video though, i thought it was too upbeat for the types of clips that were on screen

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Showreel — Screenwriter Nikita Sidorenko

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As well as script writing, im also interested in becoming a lighting director. What i enjoy about this showreel is that it truly shows quality over quantity, these clips are really good quality when it comes to how they are lit, it has good variation as well. The only thing i didnt enjoy about this is that the music was quite slow and quiet whereas most of these clips are very fast paced and action-centric, so i don't think that the music really fitted with the main theme of the showreel

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Austin Judovsky | Lighting TD | VFX Lighting Showreel 2019

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What i like about this showreel is that it gives you the type of lighting and the show / film name at the bottom of the screen and that most of the shots are slowed down to give you a better view of the lighting. For example in the shot of American Gods season 3 (1:03) its quite slowed down to give you a better view of the lightning and the light on the vines. What i will say about it though, is that its a little dragged out and the music doesn't really fit with the theme of the clips, the music is slow and relaxing which contradicts the clips which are mostly high action / horror

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What i liked about this showreel is that it shows the different uses of light, from natural light shown on the timelapse of the landscape to the bright multi coloured lights in the shots at the party. I like the range and the pacing of the reel, it doesn't feel like 3 minutes of footage because of how quickly it changes from shot to shot. What i'm not a big fan of though is where the clips were placed. it felt really spread out instead of having the studio shots, outdoor shots and the music video type of shots all next to each other

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Andreas Williamson - DOP / Camera & Lighting Reel 2016

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While looking over showreels, i found it more difficult to find ones that were for script writing / screenwriting, which is understandable given that this type of job is more paper based rather than production based. For my lighting showreel examples, it was way less difficult but it was still hard to find good showreels that had good lighting techniques as a lot of them were more animation and vfx based rather than lighting alone.

I also had to go onto LinkedIn to double check if the people who were posting these were actually professionals in their fields and ensuring that they weren't posting these for the sake of posting them or as an editing project

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For my showreel, as i don't have much scriptwriting material for it, I've decided to create my own short scenes for it. I created a scene that's more dramatic and a scene that's more on the comedic side to show my range. I will also be using these for my lighting displays as well. They will both be below this post

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This is a written and signed contract with the band RECKAGE showing that I had done videography for them and that I am permitted to use the content i made for them as part of my showreel