I had the opportunity to discuss my proposal ideas with my personal tutor John Podpadec this morning. He felt my research sounded strong and had plenty of input and materials to provided to further enhance it. The great thing about my study into lighting design and colour grading is the way the two collaborate together to help act as a subservient to the story, enhancing or creating an emotion that flows through the story. I’m not talking simplistic such as three-point lighting systems and colour correction, but really focusing on stylistic visuals.
John feels there is a call for people in the industry who narrow the gap between the science and creative implications of this technology. I personally feel to better my ability of lighting design I need to get down to the science behind it, understanding the technical side betters my understanding of how, why, and when to use specific lighting technologies, and to what extent this can be taken over to the colour grade.
Currently the F55 is the perfect tool for shooting for television output. It is relatively cheap and has a fantastic colour space giving amazing image quality, however in a year this is likely to be obsolete. The fact we can suggest this statement demonstrates the rapid pace cameras are developing and the way we view images. The diagram below depicts the available colour space accessed by these cameras in relation to the visible light spectrum. What always interests me is how large the colour space of the F55 is considering domestic monitors will only output a ITU-709 (Rec.709) space.
[Image Source: www.sony.com/color]
My next step forward in bettering my understanding of light and colour is to carry out tests and analysis existing texts, see how it is used and implemented. Potential tests could include; hard light vs soft light, how light reads on various camera sensors, the variation between tungsten and LED light.