These were a few images taken from previous lecture. On the basics of lighting within. I enjoyed learning around lighting it was quite an eye opener and interesting lesson.
Back light is generally essential in film, because without it everything tends to go muddy. But there are also plenty of exceptions — e.g. “Minority Report,” which has some beautiful shots with no back light. Lack of back light can work well if the scene has a chiaroscuro quality to it, like Caravaggio’s paintings.
For a strong example, see the painting below (“The calling of Saint Matthew,” by Caravaggio):
This painting by Caravaggio shows how some exceptionally moody lighting can be achieved without back light (“The calling of Saint Matthew,” 1599-1600)
Filmmaking is all about designing a look from scratch and then executing it on the shoot itself, which means that control is everything in filmmaking.
Backlight vs. no backlight
These two frames are taken from my first film: the first has no backlight and the second was shot with backlight (a daylight-balanced Kino Flo):
The effect of back light is clear: it increases contrast, reduces “muddiness” and enhances perceived sharpness.
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