Lighting work
My Philosophy
My philosophy, when it comes to lighting, is to figure out the mood of a given scene and then use the lighting that will best accentuate the intended emotions. In the music videos, I was able to be more abstract and extreme in my lighting since the director wanted to convey what was happening without dialogue. For the films, though, I kept it more realistic, and focus on lighting the subjects, so that they are visible for the audience. Though realism is important in film, using lighting to subtly shift the mood is also a key component.
"Mind Electric - Music Video"
This was the first time I experimented with abstract rather than naturalistic lighting. Because mood took precedence over realism, this meant I could light scenes according to emotions rather than the natural environment. The director wanted to tell a story without lyrics, so we relied on the lighting to express the emotions of the characters. For example, the color red symbolized the protagonist's guilt, and as we see her guilt intensify, she steps further into the red light. The director also wanted "circus lighting" for certain scenes. Uncertain what this meant, collaborating with the director was key to ensure I was able to fulfill their vision of the scene. To create the illusion of performers on a stage, I used low angle lights and a high spotlight that lit the performers from behind.
"How Does it Feel?"
Sometimes naturalistic and abstract lighting overlap, as in "How Does it Feel?" The director wanted to use different colors as representations of the characters. I used blue lights, in the beginning, to connect to the woman in the blue dress. The color blue is then used throughout the short film to symbolize the lead female character regaining control and power. For the simulation scenes, I used harsh, white lights to evoke the sterile feeling of a doctor's office. This lighting choice communicated to the audience the male lead character's loss of autonomy. The lighting was integral to the theme and tone of the film.
"The Tulips"
"The Tulips" was a project wherein I went for a more naturalistic look. This was difficult given the number of outdoor, night scenes. However, I am proud of what I accomplished. My focus for this project was to expose the subjects, so that the audience could see what was happening, and then the brightness could be adjusted in the edit. For example, during a night shoot we shined a spotlight from the top of a hill to light the characters below. Then during the editing process the brightness was adjusted and color graded to appear as moonlight . For the outside scenes during the day, I used mainly a reflector and natural light.
"Bloodsucker"
"Bloodsucker" takes place solely at night, so I had to find ways to light a scene that exposed the subject while also looking natural; for example, I matched the lights to the look of a streetlamp. This effect was achieved by using a soft box filter to soften the light and change the color. Additionally, I had the challenge of lighting a scene in an attic. The goal was to create the appearance of a phone flashlight. Using a spotlight and a light narrowing filter, I was able to reproduce the look of a phone flashlight. This was a challenging shoot to do lighting design for, but it forced me to come up with creative solutions.
"Type 1: A Love Story"
In "Type 1: A Love Story" I worked with the same director and cinematographer as "Mind Electric - Music Video." As a result, I was able to use similar lighting techniques from the first music video but with more sophistication. This music video production incorporated choreography in the storytelling. This posed the additional challenge of coordinating the lighting and the dance elements. In this case, dancing played a pivotal role; therefore, I had to sync the lights with the moves of the characters. For example, when a character falls, the light completely shifts color to enhance the emotion. This music video showcases my developing skills as a lighting designer.