Today, we had a lighting workshop with TV veteran Ian Liggit. He began by going over the standard methodology/formula, as he dubs it, the three point method, with a back light, key and fill. He went over each individually, pointing how each had a different effect, and how they complimented each other (look up last year's entries on lighting for more info), using one of our classmates as a subject/model.
He also put emphasis on the tones and temperature of the light, again, examining how it can create certain effects, as well as the difference from regular sunlight (such as the Tungsten lights, which are of a warmer tone). Also positioning, noting how depending on the angle, it could also serve to enchance mood, such as underneath is useful for horror, while from above can create an effect akin to the iconic image of Brando from Godfather, adding a sense of mystery and uncertainty about a person's mindset or agenda (after, eyes are the windows of the soul).
After, he then showed another type of setup: the 'Back Cross Keys', useful when shooting two shots and profiles. To demonstrate, he had two subjects sitting opposite each other, reminiscent of the iconic diner scenes from Pulp Fiction. He then used two lights on the side of either actor to light the other, with a third (the window) acting as a fill.
Today was certainly quite interesting for a good few reasons: it's been a long while since we last had a guest lecturer, especially a industry veteran. What's more, it was good to go over the setups and nature of lights in a lot more detail and focus than the past lighting lessons, which always felt a little on the generalised sid,e now that I look at them retroactively.