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For a start. I wanted to research what lighting equipment I was going to be using. I made a list of what would be the best to use for the set. This included:

Rayzr Mc-120 X3

Aputure Al-MC X3

C- Stand X3

Batteries for Rayzr X3

Plug-in adapters for Rayzrs X2

2 in 1 reflector to bounce off the light creating professional lighting.

Later on, I found tutorials from the University of Salford online that showed how to use the equipment I had listed. This was essential for me to learn how to set it up properly.

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I looked at inspiration online to help me light a scene professionally.

Three point lighting was a good start because it is used in films such as 'Lord Of The Rings' as it adds depth and clarity to a solo actor within a scene.

Personally I was looking for inspiration through equipment that I could use and adapt techniques from, such as: "Create a softer light effect using a bounce sphere. The bounce sphere has a reflective surface that softens harsh light." (Lee,T. 2019)

Through my post production reasearch I used reflectors to bounce light from the ceiling. This in turn creating a softer and more naturalistic light that set the tone of the kitchen, office and living room scenes.

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I read through the script thoroughly on this date. Specifically to find out what kind of lighting would inspire me creatively throughout this process.

Giallo immediately drew my attention because of it's graphic and diverse colour schemes that would suit up nicely with the wavy office scene.

"Giallo almost always involves crime, including murders, deception and sometimes investigation." (Owen,A. 2023)

Looking at the script I realised that Lucy is deceiving Jeff through her lying on her C.V. Furthermore Jeff is investigating whether Lucy is telling the truth. Therefore I thought that I could use some Giallo elements within my lighting techniques.

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In class, the actors went through auditions to see who was going to be cast. I decided to take my time through the script again to see whether the scenes would suit cold or warm lighting.

I decided to use cooler lighting throughout the office and kitchen scenes because there is a lot of natural light flowing in through the windows and I wanted to keep the natural look of the film. Without my lighting though there would be no crispness to the camera.

"Lighting would flow from the time of day, mood, type of store, and kind of interaction." (Rabiger,M. 2013)

This quotation inspired me to keep elements of this film natural to the surroundings around the camera. To not interfere with natural lighting and to add depth of light to the actor while also enhancing the natural light through using softer tones on the Rayzr Mc-120.

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I recognized the essential role of reflectors in softening and balancing the light to prevent harshness on the camera lens. To ensure I chose the appropriate type for each scene, I thoroughly researched various reflectors and their specific benefits online before deploying them in practice. For the shoot, I had arranged to have white, gold, and silver reflectors available, each offering unique reflective properties.

White reflectors were my go-to indicator to create a subtle and professionally used lighting technique that I wanted to advance towards the production.

"White reflectors provide a softer, more diffused light with a neutral color temperature. They reduce the intensity of the reflected light, resulting in a more subtle fill effect." (Andrus, C.2023)

I evaluated potential lighting setups for the kitchen scene, aiming to maintain a natural look while utilizing artificial lighting equipment. It's crucial to have a realistic light source to complement the actors' naturalistic performances, keeping viewers immersed. Additionally, the chosen lighting will enhance the scene's drama and tension without distracting the audience.

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For the office scene where Lucy walks away from the interview, I planned to introduce a dramatic and novel lighting style. This choice aligns with the scene's concept, which delves into Lucy's imaginative thoughts about how she might act in an ideal, dream-like scenario.

Therefore, I aimed to use various bright, rotating lights to craft a fantastical atmosphere for the office scene, enhancing the script's narrative. To achieve this, I researched different gels, focusing on how their colors could evoke specific emotions in the audience relevant to the scene.

"Gels serve these very practical purposes, but they also allow you to get creative. More than balancing things, gels can drastically alter the overall color palette of your scenes. For example, say you’re recording a project with science fiction themes. Using deep blues/violets create a stark neon, cyberpunk feel to your scenes." (Maison, J. 2019)

Planning this scene meticulously for post-production was crucial as it required precise colour scheme decisions in advance. Opting for multicolored flashes with the Rayzr Mc-120 was a strategic choice, adding an element of surprise that visually transports the audience into the alternate reality unfolding in Lucy's mind. Additionally, the use of flashing lights aims to evoke a sense of panic, captivating the audience and keeping them engaged with the on-screen action.

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This week in class, the entire crew agreed on a date with Tom Harrison to finalize the equipment rental from the student shop. Additionally, I had my first hands-on experience with the Rayzr Mc-120. I spent most of the class exploring its various settings and learning their functions.

I also collaborated with the Director of Photography, who was experimenting with different shots using the Blackmagic camera. Together, we explored which lighting conditions best complemented the camera lens.

We decided that the following Thursday would suit us all to go to the meeting with Tom Harrison

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During the meeting with Tom Harrison, I discussed which lighting equipment would be most suitable for our needs. I inquired about the advantages of using the Rayzr Mc-120 compared to the LED-go. Tom explained that with the Rayzr light, we wouldn't need to purchase gels, as it encompasses various lighting functions within its usage.

As a result, I decided to reserve all the equipment from my previous list. Everything will be ready for pickup on Monday after the Easter break.

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Warm lighting was essential throughout the film, particularly in scenes like the bedroom scene. Inspired by the need to convey Lucy's sense of comfort and security, I opted for warm lighting in this scene.

Lucy's character finds comfort only in her own bed. Therefore, the warm and comfortable light effectively portrays her refuge in this environment. It symbolizes her disappointment during the interview and her inability to trust her flatmate, who takes the job from her.

Using warm light exclusively when Lucy is alone underscores that she only feels safe when she is away from others who interfere in her life.

My inspiration for exploring mood lighting further came from the following academic reference:

"Also, light can have a dramatic effect on how the personality of a character or the characters’ current situation is depicted by the way it illuminates the form of a character" (Garcia, J.M. 2006)

I aimed to reflect the safe and comforting side of Lucy's personality through the use of warm lighting. By employing this technique, I am significantly contributing to the overall outcome of the film through my lighting choices.

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The final pre-production class has arrived, and I am fully prepared to begin filming our video project. I have meticulously planned all my lighting shot lists and completed the hazard perception sheets for our three different locations. These hazard perception sheets are documented in a separate folder, which I will submit.

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On the first day of production, the entire crew gathered at the New Adelphi equipment store to collect all the necessary gear. Afterward, we walked to the Allteron building where we set up the equipment for the first time to practice using it for the interview scene.

During this practice session, we ran through using the equipment to ensure we were fully prepared for the filming weeks ahead.

Additionally, we had a midday meeting where our director went over the upcoming call sheets, ensuring everyone was well-prepared for the filming schedule.

With this preparation and practice, I felt ready and confident for the weeks of filming ahead.

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On our first day of filming, I used Aputure lights placed inside coffee cups to create an otherworldly effect, utilizing blues, greens, and reds to capture the scene's unique aura.

To further enhance the scene's impact, I incorporated the flashing lights effect from the Rayzr lighting. This not only captivated the audience's attention but also signified a rapid shift into a new reality, one where Lucy was deeply immersed in her own mind.

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Here is an example of the Rayzr lighting setup in the room, emphasizing the dominant use of green colour.

I aimed the light directly at the actors to maintain a sharp, impactful forefront of the lighting, highlighting the intricate details and gritty nature of the colours used in this scene.

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This day was our final day of the office scene.

I thought about reflecting the light onto the image of Jeff on screen which was successful because it added the element of tension between the interview characters and Lucy.

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Filming in the house was a great success, especially the first scene that took place in the kitchen. I set up the lighting and adjusted it to a cool temperature. Using a reflector, I bounced the light onto the actors, creating a beautifully lit room that complemented their performance.

By angling the light toward the ceiling, I maximized the space available for bouncing the light, ensuring that the entire kitchen was evenly illuminated.

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Here is an example of the settings I used for the kitchen scene.

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For the bedroom scene, I opted for warmer lighting to create a cosy atmosphere that filled the entire room.

Using the reflector, I ensured that the lighting was soft and not overpowering.

My main challenge in this scene was managing the reflection of light in the close-up shots of the picture frame. I carefully adjusted the reflector to ensure that no unnatural light was visible on camera. With delicate adjustments, I successfully eliminated any unwanted reflections, ensuring they didn't appear on camera.

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Returning to film close-ups for the kitchen scene, I brought the lighting closer to the actors compared to the previous long shots, ensuring clear and focused lighting on them.

Using the white reflector, I bounced light onto the actors, being careful to avoid any direct light spillage onto the fridge. I adjusted the direction of the reflected light to prevent it from being directly visible on the camera lens.

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Directing the warm lighting towards the main light proved to be a great idea as it maintained the cosy atmosphere of the room, giving it a natural and inviting feel.

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Transitioning to the long shot of Lucy entering through the door, I aimed to preserve the naturalistic lighting from the open windows. This was crucial to maintain the overall fluid and natural look consistent with the preceding scenes.

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Here's a close-up of the settings I used for the long shots featuring Lucy entering through the door.

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I used side and fill lighting throughout the last shot of the day, to create a bright and balanced close up.

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As the scene was set outside and it was cloudy so there was no need to use the reflector for this day. So we used natural lighting from the sun to set this scene as a whole.

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Andrus, C. (2023). Guide to Light Reflectors for Film. [online] Andrus Lighting. Available at: https://www.andruslighting.com/blog/light-reflectors-in-film

Garcia, J.M. (2006). Creating effective computer generated scene lighting using traditional film lighting techniques. [online] oaktrust.library.tamu.edu. Available at: https://oaktrust.library.tamu.edu/handle/1969.1/3229.

Lee, T. (2019). What is 3-Point Lighting? Understand the Basics (2022). [online] Academy of Animated Art. Available at: https://academyofanimatedart.com/understanding-the-basics-of-3-point-lighting/.

Maison, J. (2019). Lighting gels: What are they and how do they work? [online] Videomaker. Available at: https://www.videomaker.com/how-to/lighting/lighting-equipment-lighting/lighting-gels-and-how-they-work/#:~:text=Gels%20let%20you%20tweak%20the.

Owen, A. (2023). What Is ‘Giallo’? The Genre Explained! [online] Collider. Available at: https://collider.com/giallo-explained/

Rabiger, M. and Hurbis-Cherrier, M. (2013). Directing : Film Techniques and Aesthetics. [online] ProQuest Ebook. Available at: https://ebookcentral.proquest.com/lib/salford/reader.action?docID=1125193