Running head: THE AFFECTS OF LIGHTING EFFECTS

The Affects of Lighting Effects

Final Paper
By: Sara West

Editing Aesthetics MCA 696D

Pace University
Fall 2016

Running head: THE AFFECTS OF LIGHTING EFFECTS

The Affects of Lighting Effects

Lighting is arguably one of the most important parts of a scenes composition. It is easily
one of the most manipulated effects; and depending on what kind of effects (or lack thereof), it
can be one of the most penurious aspects of a production. According to Hurbis-Cherrier (2013),
there are, five fundamental objectives to lighting any scene: exposure and visibility, depth and
dimension, [visual] narrative emphasis, tone and mood, and consistency (Hurbis-Cherrier, 2013,
p. 270). Rembrandt lighting, filming during the magic hour, using shadows, and every other
lighting phenomenon, hack, and tip falls into one of the fire aforementioned categories.
Writer and cinematographer Tom McDonough says in order to create the correct
personality for a scene, the director must know how to technically achieve what is aesthetically
needed (Hurbis-Cherrier, 2013, p. 253). In Eternal Sunshine of the Spotless Mind (2004),
Director Michel Gondry used lighting exposure and visibility to add impact to the dialogue by
Jim Carrey in the Meet me in Montauk scene. Throughout this scene, the lighting is used to
give visibility to Carrey as he addresses the memory of his lost love, Kate Winslet. This scene
incorporates Carreys audible flashbacks of Winslet, and Gondry helps to illustrate the fleeting
nature of these flashbacks by having the light shine erratically throughout the scene kind of like
Carreys mind is wondering. Furthermore, the light sporadically catches Winslet where she
once was saying those things to Carrey. At one point in the scene, Carrey is addressing Winslet's
question about why he left. As Carrey is opening up, the light flashes directly onto his face to
such a degree that Carrey becomes over-exposed (Gondry, 2004). This is significant not only
because it visually over-exposes Carrey in terms of him being too bright on the screen, it also
personifies the vulnerability of opening up to Winslet and becoming over-exposed through his
feelings.

Running head: THE AFFECTS OF LIGHTING EFFECTS

In Life of Pi (2012), Director Ang Lee uses Computer-Generated Imagery (CGI) to create
stunning scenes to show depth and dimension. In the lifeboat stargazing scene in particular, Lee
creates a context that is easy to get lost in because of the intricate depths and distortion of
dimensions through lighting. Although the audience knows that Suraj Sharma and the Tiger are
on the lifeboat in the middle of the ocean, because of the vastness of the sky created by Lee and
the depth of stars that are in that sky, it is easy to become lost and confused as to where the sea
horizon ends and the actual sky horizon begins. As the scene progresses, Sharma is gazing into
the water at the fish, as the Tiger was. The fish begins to swim away, starting a continuous shot
following the fish deeper and deeper into the sea. As the fish goes deeper, the musical
accompaniment and the surrounding scenes change to illustrate the different layers of the ocean.
Eventually, the fish comes to the bottom of the ocean where the sunken freight ship lies (Lee,
2012). This scene is worthy of attention because it signifies hitting the lowest point in physical
world, the bottom of the ocean, and the lowest point for Sharma in the metaphysical world, being
basically alone and stranded on a lifeboat in the middle of the ocean. Additionally, this is a
valuable scene for the audience, because while traveling deeper in the ocean, the audience is
traveling deeper into Sharmas feelings and soul. Not only does the audience connect with
Sharma, but also it signifies Sharma connecting with nature and most importantly with the Tiger,
which will later become vital to the Tiger and Sharmas survival.
However, depth and dimension are also easily created in cinematography without the use
of CGI technology. For example Director Peter Weir uses the power of shadows and angles to
create depth, specifically in the final scenes of The Truman Show (1998). As Jim Carrey is on
the sailboat sailing into the distance, it becomes increasingly apparent by the lighting angles to
the already aware audience, that Carrey is about to hit a wall- literally. Carreys sailboat

Running head: THE AFFECTS OF LIGHTING EFFECTS

smashes into the perimeter of the dome enclosure that he has been living in for the entirety of his
life. Upon piercing the wall with the bow of the boat, Carrey sees the stark shadows the sailboat
is casting onto the walls. Carrey walks up to the wall and as he gets closer, his shadow becomes
more sharp and distinct. As he touches the wall, Carrey is breaking through and touching the
barrier that, unbeknownst to him, has held him back. Carrey continues to walk along the outer
edge and comes across a set of stairs that are also well defined by the shadows they cast against
the wall. In addition, at possibly the most intense part of the movie, when Carrey finally opens
the exit door, it is completely black- void of all light. This void is important because it shows
that what is beyond the Truman Show bubble is unknown, both to Truman and the audience.
The magic hour is that time just before sunrise and just after sunset when the Earths
atmosphere bounces the hidden suns light, creating a diffused and luminous ambient light
(Hurbis-Cherrier, 2013, p. 293). Arguably one of the most iconic scenes in Lawrence of Arabia
(1962) is the scene in the desert, in which Director David Lean took full advantage of catching
the rising suns magic hour. Actor Peter OToole is looking at a match and as he blows the
match out, the scene cuts to the dark horizon just prior to sunrise. This continuous shot is
exceptionally intense for the audience, because as the sun is creeping up, the background music
is also building in intensity. Finally, the music and anticipation resolve as the sun peaks over the
horizon; and the scene begins to fade into the next shot of two men on camelback riding through
the sand dunes (Lean, 1962). Regardless that the scene lasts for less than one minute total, it is
known throughout the film world for its excellent cutting and lighting aesthetics.
Typically, cinematographers try for consistency in terms of a films narrative emphasis.
In other words, the characters, the style of cuts, the lighting, the sound, it should all match up and
not only flow, but should compliment the narrative itself. Ironically, a lack of consistency can

Running head: THE AFFECTS OF LIGHTING EFFECTS

also create a consistent narrative. This technique is exactly what Directors Daniel Myrick and
Eduardo Snchez use in The Blair Witch Project (1999). The entire artistic premise of The Blair
Witch Project is that it has a home movie feel to it. From the randomly changing lighting
approach to the shaky camera footage- it is like watching a home video from the late 90s. In
one scene in particular, the teenagers are spending the nights in the woods and in a short threeminute clip, the lighting technique changes four times. The scene begins with a home camera
style spotlight on the male character, the light is soft and diffused for the most part and comes
from a weak source, but it does the job. The teens settle and turn off all the lights to go to sleep,
but keep the camera on to record. Within a few seconds of the lights being off, the lights come
on again, as the students get their belongings and begin running through the woods. As they are
running, the lighting changes to a spotlight type light again, and then changes into night vision.
The night vision function causes the lighting of the scene to seem grainy because it has such low
resolution (Myrick & Snchez, 1999). If kept separate, these lighting techniques could not and
would not make up a coherent narrative. However, when constructed in this way, the
inconsistencies become the only thing consistent and therefore create a cohesive narrative with
an emphasis on chaos.
Tone is often described as the authors attitude towards a subject, while mood is more
so how the audience is made to feel about the subject (Scott, 2011). In other words, tone is the
overarching feeling you get from the film as a whole; unlike the mood, which can change from
scene-to-scene depending on the context. In addition, the mood can change for one character,
but not another. For example, the tone for There Will Be Blood (2007) can be described as dark,
morose, and a cautionary tale, regardless of a handful of happier scenes in the movie.

Running head: THE AFFECTS OF LIGHTING EFFECTS

As the sun is setting, the oil Derrick explodes and the entire well goes up into hundredfoot tall flames. The sky continues to get darker and the flames become brighter and brighter,
until it is almost painful to look at the screen because the contrast is so distinct. In the meantime
Daniel Day-Lewis character is manically pulling out all the stop lines for the well, so it does not
implode on itself. At one point, Day-Lewis character stops and stands atop a hill watching the
burning wellhe is among a line of men who are fairly dirty, but Day Lewis is covered head-totoe in crude oil. Day-Lewis sees that the men are despondent, and says to them the men should
not be sad, because he is the only man in the world who can access this oil and this wealth. DayLewis says these lines, smiling like a lunatic, accompanied by an eerie glow from the fire
reflecting off his oil-covered body (Anderson, 2007). Not only does the audiences mood
towards his character evolve, but the character himself transforms from a harmless, smooth
talking, con man into the unscrupulous, depraved, greed-driven psycho that Day-Lewis plays for
the remainder of the movie. Although the script itself is powerful, the added intensity from the
relentlessly burning fire adds an extra demonic layer to Day-Lewis character.
Rembrandt lighting is a well-known lighting setup that is used for portrait photography
(Improve Photography, 2015), and is also a commonly used element in cinematography. This
unique lighting approach is modeled after the 17th-century painter Rembrandt, who used to paint
a small triangle of brightened light on the face of his subjects. The benefits of using Rembrandt
lighting is that it is an easy set up, it can range in degrees of intensity, and it instantly adds depth
to the characters facial expressions through the light and shadows. For example, in Vertigo
(1958), Director Alfred Hitchcock used a subtler Rembrandt approach when illuminating the
faces of James Stewart and Kim Novak throughout the movie. Because the shadows are never
heavy or distinct, it gives a lighter feel to the movie, even though the subject matter is on the

Running head: THE AFFECTS OF LIGHTING EFFECTS

darker side. In a movie like Slumdog Millionaire (2008), Directors Danny Boyle and Loveleen
Tandan create more fierce Rembrandt lighting, especially in the game show scene (Boyle &
Loveleen, 2008). Because of the nature of the iridescent, high beam, game show lights, the
shadows and angles on the contestant and hosts faces are stronger and more distinct. However,
The Godfather (1972) has some of the most extreme examples of Rembrandt lighting known todate. Even to the untrained eye, the dramatic lighting techniques that Director Francis Coppola
used are noticeable. In one of the more memorable scenes, Gianni Russo is getting muscled-up
on in his own home by Al Pacino. As soon as Pacino enters the scene, his face is almost cut in
half by the depth of the shadow- the Rembrandt lighting technique is almost nil. This adds an
extra mysterious characteristic to Pacinos persona, and plays on the fact that he is so two-faced,
especially in this scene. Throughout the scene, Pacino moves around the room talking to Russo,
but everywhere he goes the shadow remains constant- not always to such a severe degree, but it
is still present (Coppola, 1972).
Whether the scene calls for high-intensity drama or a more sedated feel, it is necessary to
keep in mind the importance of lighting and different lighting techniques, because it is an
element that can make or break a scene. Lighting can bring a character to life in a way the
audience did not see before. Lighting can help illustrate changes over time and movement. And
lighting can put the audience into a coma of wonderment.

Running head: THE AFFECTS OF LIGHTING EFFECTS

References
Anderson, P.T., S. J., & Lupi, D. (Producers), & Anderson, P.T. (Director). (2007). There will
be blood [Motion picture]. USA: Paramount Vantage.
Bregman, A. & Golin, St. (Producers), & Gondry, M. (Director). (2004). Eternal sunshine of
the spotless mind [Motion picture]. USA: Focus Features.
Colson, C. (Producer), & Boyle, D. & Tandan, L. (Directors). (2008). Slumdog millionaire
[Motion picture]. UK: Warner Bros.
Hale, G. & Cowie, R. (Producers), & Myrick, D. & Snchez, E. (Directors). 1999. The Blair
witch project [Motion picture]. USA: Haxan Films.
Hitchcock, A. (Producer), & Hitchcock, A. (Director). (1958). Vertigo [Motion picture]. USA:
Alfred J. Hitchcock Productions.
Hurbis-Cherrier, M. (2013). Voice & vision a creative approach to narrative film & DV
production. (2nd ed.). Burlington, MA: Focal Press.
Improve Photography. (2015, June). Rembrandt lighting: what it is, how to do it, why its
awesome!. Retrieved from http://improvephotography.com/19250/rembrandt-lightingawesome/
Lean, D., Harris, R.A., Spiegel, S., & Painten, J. (Producers), & Lean, D. (Director). (1962).
Lawrence of Arabia [Motion picture]. UK: Horizon Pictures (II).
Lee, A., Netter, G., & Womark, D. (Producers), & Lee, A. (Director) (2012). Life of pi [Motion
picture]. Canada: Fox 2000 Pictures.
Niccol, A., Feldman, E.S., Rudin, S., & Schroeder, A. (Producers), & Weir, P. (Director).
(1998). The Truman show [Motion picture]. USA: Paramount Pictures.
Ruddy, A.S. (Producer), & Coppola, F.F. (Director). (1972). The Godfather [Motion picture].
USA: Paramount Pictures.
Scott, Mr. (2011, August). Tone and mood [Web blog]. Retrieved from
http://ourenglishclass.net/class-notes/writing/the-writing-process/craft/tone-and-mood/

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Editing Journal
Eternal Sunshine of the Spotless Mind
2004
Meet me in Montauk scene
YouTube; R; 1h48m; Drama, Fantasy, Romance
https://www.youtube.com/watch?v=NTmlNigifSI
http://www.imdb.com/title/tt0338013/?ref_=nv_sr_1
Director: Michel Gondry
Writers: Charlie Kaufman, Michel Gondry
Stars: Jim Carrey, Kate Winslet
STYLE
Scene starts with a
light on Winslet and it
looks as if its being
shot form a home
camera
Winslet walks
towards Carrey and
the flashlight follows
her and it shines
between them and up
the stairs

Dim light stays with

Carrey and hes
kicking around the
sand

CUTS
Cuts to Carrey in the
hallway and the light
shines on his face

MUSIC
No music

OTHER
Just SFX of being in
the house

Continuous shot

SFX of the house

falling apart

Cut to the outside of

the house and you see
it falling apart
Cut back to Winslet
going up the stairs and
the light following her

SFX of house
crumbling

Cut to Carrey walking

in the sand and the
light following his
feet and he begins
talking

You hear Winslet say

so go

Light continues to
follow Carreys feet
as he walks through
the house that is
slowly becoming the
shore
Cut to Carrey alone in

SFX of Winslets
voice as she talks to
Carrey and Carrey
whisper/talking about
what is going on and
what he wishes would
have happened
Carrey talking to

Running head: THE AFFECTS OF LIGHTING EFFECTS

Light starts to
illuminate the side of
Carreys face
Light is right on
Carreys face as if a
spotlight

You can see the light

on the white caps of
the waves in the
background through
the windows in the
house

Natural light of the

nighttime only now

Bright light shining

on Carrey again

the room walking

through water as the
light is flashing and
following his feet in
the water
Scene goes black
Light continues to
flash on Carrey fullon as we hear him talk
to Winslet
Cut to the side of
Carrey and the light is
super bright and harsh
on him, almost overexposed
Cut back to Carrey
just sitting in the
chaise and the light is
still brightly shown on
him
Light is still constant
and blue on Carrey

Cut to the camera and

light being behind
Carrey as he walks
through a doorway
and shuts the door and
runs down the dock
Cut to Winslet in the
doorway calling to
Carrey as he runs
down the dock
Cut to Carrey who is
turning around and
looking back at
Winslet
Cut to Winslet who is
talking
Quit cut to Carrey

10
himself about wishing
he had stayed

SFX of the waves

coming in and out and
the house creaking
This is important
because at this point
in the movie, he is
become exposed
saying he is scared

SFX of the waves

coming in and
Winslet talking

Music is starting to
creep into the scene

SFX of Carrey
running on the dock
and sound of the
waves getting louder

Music stops and gets

super quiet

SFX of the wind

blowing, waves
coming in and
crashing, and Carrey
walking on the dock

Music starting again,

mostly strings and
dramatic in feel

Running head: THE AFFECTS OF LIGHTING EFFECTS

Lights on the couple
as they embrace and
the image starts to get
fuzzy and zoom out
Extreme lighting and
everything blueish in
hue and the contrasts
are very dramatic
(eyelashes, angles of
the face)
Everything goes fuzzy
and then a red hue
lighting

Cut to Winslet
coming down the
stairs to kiss Carrey

Music continuing

Extreme close-up of
Winslet and Carrey in
an embrace

Music continues

Fuzzy cut to Carrey in

a car

SFX of wind getting

louder and Winslet
whispering Meet me
in Montauk

SFX of the car radio

playing and driving

Cut to a scene of them

eating together and
red hue lighting
Cut to bright very
vivid lighting and
stark lighting of the
couple hugging
Flash cuts from being
in the car and having
the red hue to
flashbacks that are
super vivid
Every time the light
shines, it shows a
different memory, like
Carrey is driving
down memory lane

11

SFX go along with the

different flashbacks
and scenes
Piano music is
nostalgic in feeling
and calming

SFX of what is going

on in the different
flashback scenes

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12

Life of Pi
2012
Starry night scene
YouTube; PG; 2h7m; Adventure, Drama, Fantasy
https://www.youtube.com/watch?v=OMTuBy7ju1o
http://www.imdb.com/title/tt0454876/?ref_=nv_sr_1
Directors: Ang Lee
Writers: Yann Martel, David Magee
Actors: Suraj Sharma, Irrfan Khan
STYLE
Light is reflecting off
Sharmas eyes, but we
do not see the camera
and there is very
bright natural lighting
Natural night lighting
Stars are reflecting off
the ocean water and it
looks like the boat is
in the sky
The stars move very
slightly to show that it
is the water and the
reflection that we are
seeing
Sharma talks to the
Tiger who is looking
in the distance
The fish swimming is
illuminated and you
see the distinct
reflection of the
Tigers face in the
water
Light is reflecting off
of the different parts
of the fish
There is a light blue
center of the water
where a shark swims
out of, and the rest of

CUTS
Extreme close-up of
Sharma and his hands
as he is impatiently
lying down on the
cover of the boat
Fade and change to a
scene now at night
Cut to above Sharma
and the tiger

MUSIC
Instrumental music

OTHER
SFX of Sharma
tapping

Cut to a head-on view

of Sharma, the
lighting is hitting him
from above and is
sparkling in the water
Cut to the Tiger and
he turns profile view

Music continues

No SFX

Music continues

Sharma talking to the

Tiger

Cut to the Tiger

looking into the water
and theres a fish
swimming below
them

Music changes to
show that there is a
discovery

Zoom into the Tigers

face and the fish
becomes a school of
swimming fish
Continue zooming
through the water as if
were going deeper
and deeper

Music is changing
again

Instrumental bells and

sort of middle eastern
music

Music continues to
change, every time the
creatures change,
signifying a deeper

SFX of swimming
fish

Running head: THE AFFECTS OF LIGHTING EFFECTS

the water is very dark
blue
Becomes kind of a
lucid dream and
shows all the animals
from the circus and
the ship drowning in
the water and
swimming off to
disappear
Bright light appears,
and its a scarier fish
swimming by the
camera
Bright lights appear
everywhere and we
are surrounded by
plankton and tiny
organisms that turn
into a whole wave of
tiny bubbles
Bubbles and light
make out the
silhouette and picture
of Sharmas love
Go through a deep
dark water and then
see the sunken ship at
the bottom of the
ocean
The stars illuminate
the sky behind
Sharma as hes
looking straight into
the water/camera
The light hits the
Tiger and the Tiger
and Sharma look into
each others eyes
Stars illuminate the
sky and the water,
cannot tell where one
ends and the other
beings

13

part of the ocean

Continuous shot

Continually zooming

Music continues

Continually zooming

Music changes again

Continue zooming

Vocals are added to

the music

Quickly zoom back

and we cut to
Sharmas face as hes
looking into the water
Cut back and forth to
Tiger and Sharma
Cut to a far away shot
of the horizon and you
cant tell where the
water ends and sky
beings

Music becomes
middle eastern
sounding again

SFX of water very

faintly in the
background

Running head: THE AFFECTS OF LIGHTING EFFECTS

14

The Truman Show

1998
At worlds end scene
YouTube; PG; 1h43m; Comedy, Drama, Sci-Fi
https://www.youtube.com/watch?v=Gn5kuDdeGzs
http://www.imdb.com/title/tt0120382/?ref_=nv_sr_1
Directors: Peter Weir
Writers: Andrew Niccol
Actors: Jim Carrey, Ed Harris, Laura Linney
STYLE
The light showing
through the peephole
camera shows that its
still a show and that
Truman is still on TV
Light reflecting off
the water as the boat
goes through the
water
The shadow of the
boat on the side of the
dome
Shadow as Truman
touches the edges of
the dome

CUTS

Cut to Truman as the

boat goes through the
side of the dome

MUSIC
Calm piano music

OTHER
SFX of the water and
the boat going
through the waves

Music abruptly stops

SFX of the dome

being broken

Cut to close-up of
Truman
New music starts up
Aerial shot of the boat
at the edge of the
dome
Music continues as
Truman tries to break
through the walls

Shadows show how

close Truman is to the
wall

Staircase shows the

depth and is in the

Cut to aerial shot, and

you just see the
shadow of Truman
Cut to a peephole
view again of
Truman, as you see
his shadow and the
shadow of the
staircase

No SFX though

Running head: THE AFFECTS OF LIGHTING EFFECTS

clouds, as if hes
reaching god, the
producer of the
program who hes
facing for the first
time
Producer is talking
over intercom as if the
voice of god and as if
the god of Trumans
life
When the Producer is
talking to Truman, we
see Truman through a
bluish screen as if
hes on a low-res TV

15

Cut to the sky and

back and forth to
Truman and the
clouds
Cut back and forth
between Truman and
the Producer talking

Music is continuing

No SFX, just Truman

and the Producer
talking to one another
quietly

Running head: THE AFFECTS OF LIGHTING EFFECTS

16

Lawrence of Arabia
1962
Sunrise scene
YouTube; PG; 3h36m; Adventure, Biography, Drama
https://www.youtube.com/watch?v=0ccB1KTzr9o
http://www.imdb.com/title/tt0056172/?ref_=nv_sr_2
Directors: David Lean
Writers: T.E. Lawrence, Robert Bolt
Actors: Peter OToole, Alec Guinness
STYLE
Scene starts with
Lawrence lighting a
match

The light starts slowly

creeping over the top
of the horizon as the
sun comes up
The sun rises in a
continuous shot for
almost 30-seconds
Natural light of the
desert

CUTS
As he blows out the
match, instead of it
being dark, it cuts to a
full screen shot of the
horizon with the sun
about to rise
Continuous shot

Fade into the sand

dunes shot
Continuous shot of
the men riding camels
coming over the top
of the dune

MUSIC

OTHER
SFX of Lawrence
blowing out the flame

The music is quietly

and slowly building

No SFX

Music is getting more

intense and as it fades
the instrumental and
harps begin
Music is very
triumphant and grand
sounding

No SFX

No SFX

Running head: THE AFFECTS OF LIGHTING EFFECTS

17

Vertigo
1958
Tower sequence scene
YouTube; PG; 2h8m; Mystery, Romance, Thriller
https://www.youtube.com/watch?v=GnpZN2HQ3OQ
http://www.imdb.com/title/tt0052357/?ref_=nv_sr_1
Directors: Alfred Hitchcock
Writers: Alec Copel, Samuel A. Taylor
Actors: James Stewart, Kim Novak
STYLE
Close-up of Stewart
and Novak kissing
Novak runs off into
the natural light of
daytime
Stewart and Novak
talk for a about 45seconds
Stewart looks up and
sees the tower and
starts chasing after
Novak
The church is dark,
except for the front
alter
Shadows of walking
up the stairs shows
how high up they are
while theyre running
after each other
Rembrandt lighting on
Stewart as he looks
out the window at
Novak lying there
Light is glistening off
Stewarts sweaty head
and you can see how
scared he is
Stewart begins

CUTS

Cut to Stewart
grabbing Novak by
the arm

MUSIC
Dramatic, romantic
music playing
Music becoming
increasingly more
dramatic

Close-ups of them
talking

Music gets creepy

sounding

Chase-scene and
close-ups back and
forth

Music is ominous and

speeding up

Cut to Novak running

up the stairs as
Stewart starts to chase
after her
Cut to show the
ground and then gets
whirled around

Increasingly ominous
in tone

Close-up of Stewart

Show the nuns

coming from another
building running
toward the church
tower
Cut to aerial shot of

Music gets
increasingly dramatic
as Stewart realizes
hes higher and higher
into the tower
Music is getting
louder and more
drums

OTHER

Lighting on set does

not match the natural
lighting that was
shown in the full
screen picture

SFX of Novak
running up the stairs
and Stewart calling
after her
SFX of a woman
screaming and you
hear Novak hit the
roof

Music clams down a

bit

No SFX

Music is very dark

No SFX

Running head: THE AFFECTS OF LIGHTING EFFECTS

walking down the
stairs alone against
the wall

the Priest and nuns

getting on top of the
roof and Stewart in
the bottom corner
walking off wobbly

18

Running head: THE AFFECTS OF LIGHTING EFFECTS

19

The Blair Witch Project

1999
Children in the woods scene
YouTube; R; 1h21m; Horror
https://www.youtube.com/watch?v=FOceDBYL82k
http://www.imdb.com/title/tt0185937/?ref_=nv_sr_2
Directors: Daniel Myrick, Eduardo Snchez
Writers: Daniel Myrick, Eduardo Snchez
Actors: Heather Donahue, Michael C. Williams, Joshua Leonard
STYLE
Home camera style
filming and light
straight ton the first
guy
Light straight on this
guys face and then
turn the lights off
Light kind of comes
on, but its blurry and
we cant see whats
going on really
Camera changes to
black and white vision
and they start running
You see a light come
on in front, as if the
light on the camera is
turned on
Grainy footage
because in black and
white night mode"

CUTS

MUSIC
No music

OTHER
SFX of the woods

Cut to someone
talking
Light comes on,
camera is on the floor
so we cant see whats
going on
Continuous shot of
them running through
a field
Continuous shot

Close-up of girls face

while theyre running
and then goes black

SFX of someone
breathing or crying
SFX of them running

Running head: THE AFFECTS OF LIGHTING EFFECTS

20

There Will Be Blood

2007
Burning oil Derrick scene
YouTube; R; 2h38m; Drama, History
https://www.youtube.com/watch?v=nzyDm-J065g
http://www.imdb.com/title/tt0469494/?ref_=nv_sr_1
Directors: Paul Thomas Anderson
Writers: Paul Thomas Anders, Upton Sinclair
Actors: Daniel Day-Lewis, Paul Dano, Ciarn HInds
STYLE
Natural light of dawn
and vivid orange light
of the well burning up

CUTS
Continuous shot

MUSIC
No music

Cut to Daniel DL
cutting the lines from
the derrick so it will
have nothing to be on
fire
The enormity of the
fire is appreciated by
how small Daniel DL
is against the fire
Now dusk, the flame
is still going and
bright and smoking in
the air

The flame takes up

the entire screen in
full screen because it
is so bright and so big,
its overwhelming
Everything is going to
dark and all you see is
the derrick in flames
Dusk is behind the
men and Daniel DL is
covered in oil, so he
looks like a silhouette
Light is gleaming off

OTHER
SFX of the well going
up in flames
SFX of the lines
cutting, people
yelling, and the fire
blazing

Cut to that night, and

the flame is still going

No music

SFX of the derrick

running and the
flames still burning

Cut to all the men

walking away from
the derrick to look at
it
Full screen shot of the
silhouettes of the men
and the fire burning

String music starts to

get psychotic
sounding

SFX continue

Cut to a zoom out of

the field

Music continues

SFX continue

Cut to Daniel DL and

hes talking to the
staff

Music stops on one

string note

SFX continue

Close-up of son

Music is very

Ominous and
psychotic string music
continues

Running head: THE AFFECTS OF LIGHTING EFFECTS

his face thats covered
in oil

looking at the fire

ominous and creepy

21

Running head: THE AFFECTS OF LIGHTING EFFECTS

22

Slumdog Millionaire
2008
Game show scene
YouTube; R; 2h; Drama
https://www.youtube.com/watch?v=Ak70AEHw1as
http://www.imdb.com/title/tt1010048/?ref_=nv_sr_1
Directors: Danny Boyle, Loveleen Tandan
Writers: Simon Beaufoy, Vikas Swarup
Actors: Dev Patel, Freida Pinto, Saurabh Shukla
STYLE
Game show setting

Rembrandt lighting on
both sets of faces is
very prominent
Lights come up and
the entire stare is lit
up
Little TVs inside the
editing room are all
lit-up with blue hueseveryones face is
giving off a hue as
well

CUTS
Cut back and forth
between the
contestant and the
host

MUSIC
No music

OTHER
SFX are minimal

Cut to full screen shot

of the entire audience

No music

SFX of people
clapping and yelling

Cut to the editing

room

Cut back and forth

between contestant
and host

Running head: THE AFFECTS OF LIGHTING EFFECTS

23

The Godfather
1972
Going to Vegas scene
YouTube; R; 2h55m; Crime, Drama
https://www.youtube.com/watch?v=HiCnnsHfadU
http://www.imdb.com/title/tt0068646/?ref_=nv_sr_1
Directors: Francis Ford Coppola
Writers: Mario Puzo, Francis Ford Coppola,
Actors: Marlon Brando, Al Pacino, James Caan
STYLE
Very intense lighting
from the beginning
and dramatic, just one
side of the face
No Rembrandt
lighting, just straight
cut down the face of
lighting
Natural lighting of the
room

CUTS

Cut back and forth

between the two guys
talking

Continuous shot of
the men walking in
and talking to the guy
First time we
Close up of the guy
Rembrandt lighting on talking
the face, but still very
dramatic
Very dramatic on the
Cut to the other guy
other guy, shows his
and cut back and forth
emotion
while talking
Continue cutting back
and forth as the men
talk

MUSIC
No music

OTHER
No SFX

No music

No SFX, just the guys

talking at first
No SFX

No music

No SFX, very quiet,

and the man is
whispering, so you
have to pay attention

No music

Very little SFX

No music

Ambient noise of
being outside

Dramatic lighting
again, and only half
his face is lit
Very naturally lit
scene outside
Would have NEVER
known it was during
the day, because the
lighting in the house

Cut back to the entire

room
Cut to another scene

No music

Running head: THE AFFECTS OF LIGHTING EFFECTS

24

was so dark and dim

Lighting is still bright

Carlo gets into the

car, and starts getting
choked out

No music

Cut back to the guys

waiting at his house
still

Music starts up

SFX of Carlo
breaking the
windshield as he kicks
it
Birds are chirping