Relevant bibliographies by topics / Cinematography, lighting

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Cinematography, lighting'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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Journal articles on the topic "Cinematography, lighting"

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Tedjorahardjo, Christa Azalia. "Picturing the Boundary Between Good and Bad: The Lighting, Framing, and Camera Movement of “Kidnap”." K@ta Kita 5, no. 2 (November 16, 2018): 9–17. http://dx.doi.org/10.9744/katakita.5.2.9-17.

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This creative work is a cinematography report from the screenplay “Kidnap” by Indah Sari Y. The story tells about a criminal who is given a mission to kidnap the daughter of a deceased wealthy CEO, however the Man realized that he mistakenly kidnapped the wrong person. He is caught in the dilemma whether or not to let her go, yet his situation only gets worse when he is given the order to kill her. The cinematography of this film aims to convey the story and message that the director envisioned. Moreover, it aims to portray characterization through various elements of cinematography such as framing, lighting, and camera movement. It also intents to manipulate tone and mood through those cinematographic elements. To further understand the cinematography of this film, three main theories are used: low-key lighting, head-room and lead-room, and handheld camera movement. These theories are to help the cinematographer to convey the genre of psychological suspense, with the subgenre of crime drama. An in-depth analysis in this report will talk in details about how cinematography achieved the desired effects towards characterization, mood, and tone.
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Betekeneng, Malvin Hernanta. "Meal for Two: Creating Mood and Characterization Through Cinematography." K@ta Kita 7, no. 2 (October 29, 2019): 236–43. http://dx.doi.org/10.9744/katakita.7.2.236-243.

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This creative work is about the cinematography report from the screenplay meal for two by Satrio Haryanto. The story tells about two neighbors, a man and a woman, who lives next door but they do not know about each other personally. The woman realizes that the man attracted to her but she prefers to keep her distance, but after sometime, they get together since both shares the same secret. This creative work aims to portray the mood in order to create suspense, distance and closeness and to show the man’s paraphilia, the man’s curiosity, and the woman’s introversion. An in-depth analysis will be further developed to portray the mood. In order to support those elements, there are several techniques used such as low-key lighting, framing. These techniques are to help the cinematographer to convey the drama suspense genre. In addition, a detailed analysis will further explain different uses of camera work, lighting, and color in building the characterization in the whole movie. As a result, my work as a cinematographer will explain on how the mood and characterization on this film fits with the drama suspense genre. Keywords: cinematography, low-key lighting, camerawork, color, framing.
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Barzel, Ronen. "Lighting Controls for Computer Cinematography." Journal of Graphics Tools 2, no. 1 (January 1997): 1–20. http://dx.doi.org/10.1080/10867651.1997.10487467.

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Huttunen, Sampsa. "Ecological Approach to Cinematographic Lighting of the Human Face – A Pilot Study." Baltic Screen Media Review 10, no. 2 (December 1, 2022): 274–91. http://dx.doi.org/10.2478/bsmr-2022-0020.

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Abstract One key aspect of cinematographic lighting – and lighting in general – is its direction and how the lighting illuminates people and other objects of attention. In a natural setting, the light reaching the target usually has at least some level of directionality instead of being just ambient overall light. In cinematography directionality is used, among other things, to enhance the lit object’s three-dimensionality in an otherwise two-dimensional medium by bringing out its shape and texture and separating it from the background. While lighting has typically been studied based on its physical qualities that render for quantitative measures, such as intensity or color spectrum, less is known about how cinematographic lighting gives rise to the spectator’s emotive-cognitive experiences. Overall, film lighting has been studied surprisingly little, although both practical and academic literature emphasize its important role in cinematic expression. This paper presents a pilot study that examines viewers’ emotional reactions to photographs of an expressionless human face under lighting from different directions. The initial results indicate that lighting that obscures, hides, or distorts facial features creates stronger emotional reactions in the viewer than lighting that reveals them, contributing to the scientific understanding of the audience’s reactions and the filmmaker’s creative decisions.
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Nevill, Alexander. "Cinematography and filmmaking research." Alphaville: Journal of Film and Screen Media, no. 17 (July 1, 2019): 188–96. http://dx.doi.org/10.33178/alpha.17.13.

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This paper offers an overview of a recent practice-led doctoral enquiry which examined lighting techniques used by cinematographers and more widely amongst practitioners working with moving imagery. This research was completed in the Digital Cultures Research Centre at UWE Bristol and funded by the AHRC 3d3 Centre for Doctoral Training. The paper specifically reflects on three strands of enquiry which existed in dialogue with one another, showing how the mutual interaction and reinforcement between scholarly activity, collaborative film production and independent creative experimentation were fundamental to the approach and direction of the research. Amongst a wider contribution, this doctoral research can be seen as methodologically innovative, providing a more detailed first-hand investigation into lighting processes than is currently available by using autoethnographic methods to capture practical knowledge that is deployed in situ during moving image production. The paper discusses this novel use of autoethnography within practice-research and also explains how the resulting evidence was incorporated in the thesis through a layered approach to writing.
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Raehana, Hafiza Raehana. "360° PHOTO TECHNIQUES AND VIRTUAL REALITY IN CINEMATOGRAPHY." Arty: Jurnal Seni Rupa 11, no. 2 (July 11, 2022): 56–63. http://dx.doi.org/10.15294/arty.v11i2.56111.

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Era transformasi digital 4.0 ini marak penggunaan citraan berbasis digital untuk berbagai kebutuhan, dari jualan hingga hiburan. Metaverse memiliki peluang besar di Indonesia karena dapat digunakan di berbagai bidang seperti pariwisata, pendidikan, kesejahteraan sosial dan perdagangan di Indonesia. Namun demikian, belum banyak berkembang pembahasan mengenai kualitas citra yang standar untuk kebutuhan sinematografi. Citra yang dimaksud adalah suatu representasi (gambaran), kemiripan atau imitasi dari suatu objek. Citra sebagai keluaran suatu sistem perekaman data dapat bersifat optik berupa foto, bersifat analog berupa sinyal-sinyal video seperti gambaran pada monitor televisi, atau bersifat digital yang dapat langsung disimpan pada suatu media penyimpanan. Meskipun sebuah citra kaya akan informasi, namun sering kali citra yang dimiliki mengalami penurunan mutu, misalnya mengandung cacat atau denois. Metode yang digunakan dalam sinematografi meliputi camera angle, continuity, cutting, dan composition. Hasil penelitian ini adalah Penggunaan aspek sinematografi terutama dalam karya animasi ataupun syuting mempunyai mood dan teknik pencahayaan yang sama dengan pengarahan pada media yang lain. Dalam pencahayaan film VR yang menggunakan metode pembuatannya menggunakan animasi tiga dimensi mempunyai treatment yang lebih menonjolkan kesan tekstur yang gelap dan low-key lighting In this era of digital transformation 4.0, there is widespread use of digital-based imagery for various needs, from sales to entertainment. Metaverse has great opportunities in Indonesia because it can be used in various fields such as tourism, education, social welfare and trade in Indonesia. However, there has not been much discussion about standard image quality for cinematography needs. The image in question is a representation (picture), resemblance or imitation of an object. The image as the output of a data recording system can be optical in the form of photos, analog in the form of video signals such as images on a television monitor, or digital which can be directly stored on a storage medium. Even though an image is rich in information, the image that is owned often suffers a loss of quality, for example, contains defects or defects. The methods used in cinematography include camera angle, continuity, cutting, and composition. The result of this research is that the use of cinematographic aspects, especially in animation or filming works, has the same mood and lighting techniques as directed at other media. In VR film lighting, which uses a three-dimensional animation method, it has a treatment that emphasizes the impression of a dark texture and low-key lighting.
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Petrie, Duncan. "A Changing Visual Landscape: British Cinematography in the 1960s." Journal of British Cinema and Television 15, no. 2 (April 2018): 204–27. http://dx.doi.org/10.3366/jbctv.2018.0415.

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British cinema of the 1960s offers a productive terrain for the consideration of the significance and contribution of the cinematographer, a rather neglected and marginalised figure in British cinema studies. The work of British practitioners certainly achieved new levels of international recognition during this period, with the award of five Oscars for Best Cinematography between 1960 and 1969, equalling the total from the previous twenty years. A survey of the films made in Britain during the decade also reveals a gradual transformation in visual style: from a predominance of black and white to the ubiquity of colour; from hard-edged, high-contrast lighting to a softer, more diffused use of illumination; from carefully composed images and minimal camera movement to a much freer, more mobile and spontaneous visual register; from the aesthetics of classicism to a much more self-conscious use of form appropriate to a decade associated with a new emphasis on spectacle and sensation. This article will examine major achievements in 1960s British cinematography, focusing on the factors noted above and giving particular consideration to the contribution of a small number of key practitioners including Walter Lassally, David Watkin, Nicolas Roeg and Freddie Young, who individually and collectively helped to affirm the 1960s as a particularly creative period in British cinema.
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Alfaleh, Ahmad, and Ali Fayad. "The importance of modern digital technologies in the Jordanian film industry The movie "Captain Abu Raed" as a model." Dirasat: Human and Social Sciences 49, no. 2 (August 2, 2022): 13–30. http://dx.doi.org/10.35516/hum.v49i2.1726.

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Modern digital technologies in cinema have added a great development in many fields; the most important of which is the field of cinematography, lighting, and the field of film editing. This research highlights the important role of these technologies in the development of the Jordanian digital cinematic film industry by analyzing one film as a sample, the Jordanian digital film "Captain Abu Raed", which used modern digital technologies in its production in cinema in 2008. The film is analyzed qualitatively and the role of modern digital technologies in making is examined. The research consists of four sections, where the first section includes the definition of the research problem, objectives, significane, the procedural definitions, and the research sample. The second section includes the theoretical framework for the research, where the research discusses the importance of modern digital technologies in Jordanian cinema and their development, and presents a theoretical framework regarding the basic elements in digital cinematography as follows: cinematography, lighting, and film editing. The third section also analyzes the research sample, which is a Jordanian digital cinematic film "Captain Abu Raed", and it highlights the digital technical aspects in its production. The fourth section includes the research results related to the research.
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Obot, Charles, and Ubong Andem Obong. "Narratology in Gina Prince-Bythewood’s Film - The Woman King." QISTINA: Jurnal Multidisiplin Indonesia 2, no. 1 (June 1, 2023): 1–14. http://dx.doi.org/10.57235/qistina.v2i1.331.

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This work was concerned with narratology in Prince-Bythewood’s (2022, 02:14:49) film, The Woman King. It was specifically set to analyse the narrative structure inherent in the film. In doing this, the researchers formulated four research objectives to guide the narrative analysis of the film. The objectives were to: describe how the plot is structured to enhance the film narrative; explain how the director established dramatic elements such as setting, conflict, and denouement in enhancing the film narrative; critically examine the metaphorical and literary themes that help to enhance the film narrative; and to discuss how the director’s use of cinematography enhance the film narrative. The theoretical underpinning of the Narrative Theory provided explications to the narratological exegesis attempted in the study. The study, using the qualitative content analysis and narratology methodologies, described and critically analysed Prince-Bythewood’s (2022, 02:14:49) deployment of narratives and narrative structures in the story (plot) and discourse from settings; dramatic twists; themes (metaphorical and literary); dramatic conflict/climax; denouement; and other cinematographic elements such as visual effects; stunts; lighting and lighting effect; non-linear editing; sound and sound effect; and languages of dramatic dialogue.
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Lotman, Elen. "Pedagogical Experiment with Portrait Lighting in Combination with different Actor’s intent in the case of novice Actors." International Journal of Film and Media Arts 5, no. 2 (November 13, 2020): 49–64. http://dx.doi.org/10.24140/ijfma.v5.n2.03.

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Portrait lighting and acting both carry substantial weight in creating character engagement by the viewer, but are rarely researched in conjunction. At the same time both acting and portrait lighting have considerable canons that have developed within the craft system and realized through tacit knowledge. Thus, as both are fields with considerable amount of knowledge and skills, but not enough scientific research conducted yet, it makes sense that the first expansion of knowledge should be conducted through artistic research. In line with Root-Bernstein's ArtScience approach that calls for processes of invention and exploration (Root-Bernstein, 2011), the current study tested out a possible model for researching the interaction between portrait lighting and acting. The current article should be considered as an analytic report on the first interdisciplinary experiment that melded together cinematography, acting, portrait lighting and pedagogy.
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Dissertations / Theses on the topic "Cinematography, lighting"

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Williams, Tomas Rhys. "Tricks of the light : a study of the cinematographic style of the émigré cinematographer Eugen Schüfftan." Thesis, University of Exeter, 2011. http://hdl.handle.net/10036/3598.

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The aim of this thesis is to explore the overlooked technical role of cinematography, by discussing its artistic effects. I intend to examine the career of a single cinematographer, in order to demonstrate whether a dinstinctive cinematographic style may be defined. The task of this thesis is therefore to define that cinematographer’s style and trace its development across the course of a career. The subject that I shall employ in order to achieve this is the émigré cinematographer Eugen Schüfftan, who is perhaps most famous for his invention ‘The Schüfftan Process’ in the 1920s, but who subsequently had a 40 year career acting as a cinematographer. During this time Schüfftan worked throughout Europe and America, shooting films that included Menschen am Sonntag (Robert Siodmak et al, 1929), Le Quai des brumes (Marcel Carné, 1938), Hitler’s Madman (Douglas Sirk, 1942), Les Yeux sans visage (Georges Franju, 1959) and The Hustler (Robert Rossen, 1961). During the course of this thesis I shall examine the evolution of Schüfftan’s style, and demonstrate how Schüfftan has come to be misunderstood as a cinematographer of German Expressionism. The truth, as I will show, is far more complex. Schüfftan also struggled throughout his career to cope with the consequences of exile. In this thesis I will also therefore examine the conditions of exile for an émigré cinematographer, and in particular Schüfftan’s prevention from joining the American Society of Cinematographers. I intend to demonstrate how an understanding of cinematographic style can shed new light on a film, and to give renewed attention to an important cinematographer who has been largely ignored by film history.
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Trinh, Ellen Man Ngoc. "Cine-animé: adaptations of realistic lighting styles." Texas A&M University, 2005. http://hdl.handle.net/1969.1/2644.

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Animé, a style of Japanese animation, has begun to evolve into more than a simple animation. The stories found in animé have reached a level of complexity similar to traditional cinema. However, lighting in animé, has been minimal. Using computers to create animé, rather than creating it traditionally by hand, has allowed greater opportunities to be creative with lighting. Color and computer-generated (CG) effects can be integrated with traditional line drawings to create beautiful images in animé. Since cinematic lighting exhibits some of the finest examples of lighting, this thesis will analyze lighting styles from three different cinematographers and adapt them to three anim??e style scenes in 3D. The scenes will be modeled, lit, and rendered using Alias/Wavefront MAYATM, and textured using Adobe PhotoshopTM. The result will be a visual CG piece that adapts the lighting style of certain distinctive cinematographers, while retaining the look of animé.
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Nevill, Alexander. "In light of moving images : technology, creativity and lighting in cinematography." Thesis, University of the West of England, Bristol, 2018. http://eprints.uwe.ac.uk/35477/.

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Thesis This practice-led doctoral research examines lighting techniques used by cinematographers and more widely amongst practitioners working with moving imagery. The widespread adoption of digital technologies in the film production industry has received a good deal of critical attention from practitioners and scholars alike, however little specific consideration about changing lighting practices can be found amongst this discourse. The control and orchestration of lighting have significant aesthetic connotations for moving image work, so it is surprising that this practice remains an under-explored area in the digital age. Informed by a series of research-driven experimental installations and collaborative cinematography work on independent films, presented in a separate portfolio, this thesis offers an understanding of how light is orchestrated during the production of moving imagery through direct creative inquiry. The contribution to knowledge made through this doctoral research is distilled into three areas. First, understanding lighting in moving image production through a relational, new-materialist perspective which foregrounds the flow and energy of light as a generative force and a cultural and creative process. Second, providing a more detailed first-hand investigation into lighting processes than is currently available that uses autoethnographic methods to capture practical knowledge that is deployed in situ during moving image production. Third, offering a new approach to the relationship between a cinematographer and his/her equipment by applying the actor-network theory framework to the consideration of moving image, and explicitly lighting technologies. The new-materialist perspective outlined in this thesis provides a strong foundation for further studies of lighting in emerging forms of moving image production because of its emphasis on process and a practitioner’s correspondence with light. This theoretical framework offers an effective way to understand and analyse creative lighting work across changing technologies, while the insight into practical processes captured during this enquiry can be employed directly in cinematography education. Portfolio Developed between 2014-2017 as part of a doctoral research enquiry, In Light of Moving Images brought together a series of film and video works by cinematographer and filmmaker Alexander Nevill. The exhibition included five research-driven moving image installations as well as three single screen short films created collaboratively in the role of Director of Photography. Although varied in form and production context, these works all investigate cultural and creative orchestrations of light on screen. Providing visual documentation, this publication serves as a record of the exhibition and, moreover, offers an account of the practice-led research journey through which it emerged. The following pages incorporate written contextual insights about each practical work, describe the timeline of and rationale behind them and also include a variety of supplementary artefacts such as sketches, lighting diagrams and photographs of the work in progress to reveal creative processes. Traditionally considered the responsibility of a cinematographer, lighting in a filmmaking context refers to the arrangement of illumination sources around a location or set to create a specific aesthetic. Expanding this term, lighting can also refer to creative control over the passages of illumination which constitute moving imagery, shaping ways that audiences perceive the frame. Selected amongst a larger body of cinematography and moving image experimentation, the work in this portfolio and exhibition engages with both facets of lighting, taking the form of spatial projections that weave together light in and of moving imagery while questioning the material tensions of mediated illumination.
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Martin, Ryan. "A Practical Study of the Role of the Cinematographer." ScholarWorks@UNO, 2005. http://scholarworks.uno.edu/td/227.

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The following thesis describes the development and process of the responsibilities and skills necessary for a director of photography in the motion picture industry. Pre-production and production aspects pertaining to experiences as a cinematographer are covered. Furthermore, the progression of learning about the field of cinematography is explained through personal examples of logistical, technical, and artistic requirements on both short and feature student films. Storyboards are included in the appendices.
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Somazzi, Giacomo. "The Cinematography of Luca Bigazzi: An Analysis of his Camera work and Lighting style." Master's thesis, Akademie múzických umění v Praze.Filmová a televizní fakulta. Knihovna, 2018. http://www.nusl.cz/ntk/nusl-392830.

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Diplomová práce ze zabývá tvorbou Lucy Bigazziho, jednoho z nejdůležitějších současných italských kameramanů. Analýza jeho filmů ukazuje, jakým způsobem svými úvahami o kinematografii a jedinečným vizuálním stylem ovlivnil spolupracovníky, i italský film v posledních 30 letech.
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So, Waifung. "Toward an aesthetics of sensation : a study of backlighting in Shunji Iwai's films." HKBU Institutional Repository, 2019. https://repository.hkbu.edu.hk/etd_oa/702.

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Shunij Iwai is a significant director of the Japanese New Independent cinema, who is best known for the fascinating visual style he adopted from the 1990s onwards. Rejecting the obsession with Japaneseness in Japanese cinema, Iwai developed a unique style of aestheticism through the use of backlighting, a technique he refined in partnership with cinematographer Noboru Shinoda. In existing academic studies on backlighting, cinematic lighting has generally been understood as a representational element that works to fulfill the needs of narration. Examples of such studies include Sharon A. Russell's (1981) semiotic study on the lighting style of French cinema, Patrick Keating's (2010) discussion of lighting convention in classical Hollywood cinema, and Lara Thompson's (2015) analysis on the use of light as a narrative tool in narrative cinema. By contrast, lighting in Shunji Iwai's films works in a different way. This difference prompts me to review the general conceptualization of cinematic lighting and turn to a materialist perspective, a non- representational attempt to study the sensation of lighting in cinema. By adopting Deleuze's concepts of cinema and sensation, this project provides an analytical trajectory for studying lighting in cinema. I argue that lighting as an aesthetic materiality renders a new understanding of the film world of Shunji Iwai as something derived from the Deleuzian poetics of sensation. This argument can be a starting point for critically rethinking lighting as a means for producing a circulation of cinematic affects.
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Rosenblatt, Jacob A. "Cinematic Style: The Effects of Technology." Ohio University Honors Tutorial College / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1277815461.

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Kraguljac, Igor. "The implementation of chiaroscuro in photography and cinematography." [College Station, Tex. : Texas A&M University, 2008. http://hdl.handle.net/1969.1/ETD-TAMU-2371.

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Ford, Angelique. "Critiquing the Masters: Applying 3D Production Lighting Principles to Famous 2D Works of Art." Thesis, 2012. http://hdl.handle.net/1969.1/ETD-TAMU-2012-08-11841.

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This thesis demonstrates the effects of applying lighting principles developed for 3D computer graphics production to well-known historical 2D paintings. The visual analysis and cinematographic direction is derived from the iterative review-critique- review process used in production of 3D animated films and the imposition of a narrative purpose for re-lighting. This thesis focuses on five of the important fundamentals of lighting design, adapted and defined by Pixar Animation Studios Director of Photography Sharon Calahan in “Storytelling Through Lighting: A Computer Graphics Perspective.” The results are 2D images that are easily recognizable as adaptations from the original paintings, but that communicate a distinctly different visual impression. Each re-lit painting serves as an example of the lighting principle employed and offers a unique viewpoint on a well-known artwork.
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Books on the topic "Cinematography, lighting"

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Maria, Viera, ed. Lighting for film and electronic cinematography. Belmont, Calif: Wadsworth Pub. Co., 1993.

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Jennifer, O'Rourke, Skowronski Tom, Fulton Charles, Zarubin Igor, Videomaker Inc, and York Publishing Inc, eds. Video lighting tips. Chico, CA: Videomaker, Inc., 2008.

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LeTourneau, Tom. Lighting techniques for video production: The art of casting shadows. Boston: Focal Press, 1996.

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Brown, Blain. Motion Picture and Video Lighting. 2nd ed. Amsterdam: Focal Press, 2007.

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Fitt, Brian. A-Z of lighting terms. Woburn, MA: Focal Press, 1999.

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Kurit͡syn, A. M. Svetotekhnicheskie sredstva v kinotekhnologicheskikh prot͡sessakh: Sbornik nauchnykh trudov. Moskva: NIKFI, 1988.

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d'Allonnes, Fabrice Revault. La lumière au cinéma. Paris: Editions Cahiers du cinéma, 1991.

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Pellʹ, V. G. Tekhnika i tekhnologii͡a︡ kinosʺemochnogo osveshchenii͡a︡. Moskva: "Iskusstvo", 1987.

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Box, Harry C. Set lighting technician's handbook: Film lighting equipment, practice, and electrical distribution. Boston: Focal Press, 1993.

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Fitt, Brian. Lighting by design: A technical guide. Oxford [England]: Focal Press, 1992.

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Book chapters on the topic "Cinematography, lighting"

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Brown, Blain. "Lighting." In Cinematography, 263–98. 4th ed. London: Routledge, 2021. http://dx.doi.org/10.4324/9780429353239-13.

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Brown, Blain. "Lighting sources." In Cinematography, 243–62. 4th ed. London: Routledge, 2021. http://dx.doi.org/10.4324/9780429353239-12.

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Hoser, Tania. "Lighting Techniques." In Introduction to Cinematography, 367–90. 2nd ed. New York: Routledge, 2024. http://dx.doi.org/10.4324/9781003355137-24.

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Hoser, Tania. "Lighting Techniques." In Introduction to Cinematography, 339–66. 2nd ed. New York: Routledge, 2024. http://dx.doi.org/10.4324/9781003355137-23.

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Hoser, Tania. "Lighting Techniques." In Introduction to Cinematography, 323–38. 2nd ed. New York: Routledge, 2024. http://dx.doi.org/10.4324/9781003355137-22.

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Hoser, Tania. "Lighting: The Fundamentals of Lighting, Light Metering and Exposure." In Introduction to Cinematography, 253–67. New York : Routledge, Taylor & Francis Group, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315305318-13.

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Hoser, Tania. "Lighting: Natural and Available Light." In Introduction to Cinematography, 269–84. New York : Routledge, Taylor & Francis Group, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315305318-14.

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Hoser, Tania. "Lighting Locations and Studio Sets." In Introduction to Cinematography, 311–33. New York : Routledge, Taylor & Francis Group, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315305318-16.

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Nevill, Alexander. "Theorising Creative Lighting." In Towards a Philosophy of Cinematography, 9–32. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-65935-6_2.

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Hoser, Tania. "Fundamentals of Lighting Light Metering and Exposure." In Introduction to Cinematography, 305–22. 2nd ed. New York: Routledge, 2024. http://dx.doi.org/10.4324/9781003355137-21.

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Conference papers on the topic "Cinematography, lighting"

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Wei, Zheng, Xian Xu, Lik-Hang Lee, Wai Tong, Huamin Qu, and Pan Hui. "Feeling Present! From Physical to Virtual Cinematography Lighting Education with Metashadow." In MM '23: The 31st ACM International Conference on Multimedia. New York, NY, USA: ACM, 2023. http://dx.doi.org/10.1145/3581783.3612580.

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2

Xu, Xian, Wai Tong, Zheng Wei, Meng Xia, Lik-Hang Lee, and Huamin Qu. "Cinematography in the Metaverse: Exploring the Lighting Education on a Soundstage." In 2023 IEEE Conference on Virtual Reality and 3D User Interfaces Abstracts and Workshops (VRW). IEEE, 2023. http://dx.doi.org/10.1109/vrw58643.2023.00128.

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3

Mardi, Abrianto, Samsu H. Siwi, and Titin Fatimah. "A Study of Natural Lighting and Quality of Lighting in Production House for Cinematography (Case Study: Residential House at Cinere)." In 3rd Tarumanagara International Conference on the Applications of Social Sciences and Humanities (TICASH 2021). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220404.037.

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4

"An Acquaintance with Lighting in Cinematography In Terms Of Applying It in Architecture (Properties and Methods)." In International Conference on Architecture, Structure and Civil Engineering. Universal Researchers, 2015. http://dx.doi.org/10.17758/ur.u0915321.

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