Page 33 - Lighting the Un-lightable Volume 1 #3

Lets analyze the scene:

1 Creating an image that looks "natural" is key. So, we knew that
whatever we did, we needed to make sure that the trees outside
the wall of windows were visible. This created another prob-
lem: the difference between the "blackest black" and the "whit-
est white" would be more than four F-stops - a huge problem for
4 the camera.

The flooring was a combination of many materials so there were
issues making sure the detail of each texture was consistent and
clearly visible. We also needed to make sure that the floor was
2 evenly lit so that it appeared "natural" to the human eye.

3 3 The "blackest black" was here. As far as the camera was con-

cerned, this area would be totally black. We had to find a way to
extend the light into this space, or, in our terms, raise the blacks
to extend the dynamic range of color into this area.

6 4 The reflections on the glass attached to the railing is a critical

part of the visual experience. Again, we had to make sure we not
only didn't lose the reflections but we also had to make sure the
strobes didn't reflect off the glass.

5 These smaller sky lights were another variable. They made the
ceiling considerably brighter than the human eye was able to
see. This made the volume of light highly inconsistent.

The rectangle is a walk way to classrooms. If we didn't "push"
the light into the corridor, or, collapse the difference between
the "blackest black" and "whitest white" this area would be black
6 and without detail.

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