Introduction; Acknowledgements; Chapter 1 Why we light; Chapter 2 Lighting basics; Chapter 3 Grip equipment basics; Chapter 4 Electricity; Chapter 5 Exposure and compression; Chapter 6 Color temperature, the Kelvin scale, and gels; Chapter 7 Refining portrait lighting and cross keying; Chapter 8 Planning for motion on set; Chapter 9 Background lighting; Chapter 10 Choice of lights: 3200K and Kino Flos; Chapter 11 LED lights; Chapter 12 HMIs; Chapter 13 DMX and controlling lights; Chapter 14 Green and blue screen; Chapter 15 Daytime exterior lighting; Chapter 16 Nighttime exteriors; Chapter 17 Types and genres of lighting; Chapter 18 Advanced electrical; Chapter 19 Generators; Chapter 20 Advanced gripping; Chapter 21 Introducing style to lighting; Chapter 22 Set safety; Chapter 23 Money vs. aesthetics; Chapter 24 Freelancing; Case studies #1-5; Glossary and set Vocabulary; Index
Alan Steinheimer has 30 plus years of filmmaking experience, with 25 years of lighting as a gaffer and lighting director in San Francisco Bay Area. His resume includes feature films such as The Darwin Awards, documentary and corporate work, commercials, and music videos such as Britney Spears’ Oops, I Did it Again. He appears regularly as a guest expert in the Meet the Gaffer series on YouTube.
'Alan Steinheimer's book is simply the best book available about
lighting; it can be read cover-to-cover or as a handbook, carried
from job to job. It is a wonderful exploration of both the
practical and the esthetic issues in lighting. In today's world,
grip equipment is an essential component of lighting itself, and
Alan explores the equipment and techniques of grip gear extensively
including my personal favorite: tying knots. This is an essential
book; it can be useful for cinematographers, lighting techs, and
grips.'Stephen Lighthill, ASC, President, American Society Of
Cinematographers, Discipline Head: Cinematography/AFI
Conservatory
'You might find yourself stumbling your way towards a career in
film, and even though you fancied yourself the next Spielberg or
Tarantino, the bills kept coming so you were happy to take whatever
people were willing to pay you to do. Whether it’s working your way
up the G&E ladder or doing your time in the camera department,
eventually you’ll want to call a few more shots than when you’re
asked to take the group photo at the family reunion because "you
know this stuff." Taking off as an owner/operator, whether a camera
person or a fledgling gaffer with some gear, you need to hear from
a seasoned mentor who will talk candidly about the ins and outs,
the highs and lows, the red flags and the sweet spots of
production. I’ve known Alan for the majority of my 30 plus years in
this business and I can’t think of a better person for you to hang
out with to learn the large picture fundamentals and the more
nerdy, fine tuned aspects of what we do as lighting professionals.
He’s not only smart, and thoughtful, but very willing to share all
his tips and tricks... with you! Don’t pass this up. Enjoy.'
Luke Seerveld Host of Meet The Gaffer on YouTubePraise for the
Previous Edition: "Motion picture lighting is an art. This book
will teach you how to play the instruments in a immensely
informative and thorough way. In the 30 years since we first worked
together, Alan has become a master of light. He has always been the
first to embrace new lighting tools and techniques. His wide range
of experience through Hollywood features, TV movies, commercials,
music and corporate videos of many styles lends depth to his keen
observations. This book, like his work, is meticulous, extensive,
precise, a luscious read and should be in any cinema student,
scholar and technician’s library."David Claessen, Director of
Photography
'Alan Steinheimer's book is simply the best book available about
lighting; it can be read cover-to-cover or as a handbook, carried
from job to job. It is a wonderful exploration of both the
practical and the esthetic issues in lighting. In today's world,
grip equipment is an essential component of lighting itself, and
Alan explores the equipment and techniques of grip gear extensively
including my personal favorite: tying knots. This is an essential
book; it can be useful for cinematographers, lighting techs, and
grips.'Stephen Lighthill, ASC, President, American Society Of
Cinematographers, Discipline Head: Cinematography/AFI
Conservatory
'You might find yourself stumbling your way towards a career in
film, and even though you fancied yourself the next Spielberg or
Tarantino, the bills kept coming so you were happy to take whatever
people were willing to pay you to do. Whether it’s working your way
up the G&E ladder or doing your time in the camera department,
eventually you’ll want to call a few more shots than when you’re
asked to take the group photo at the family reunion because "you
know this stuff." Taking off as an owner/operator, whether a camera
person or a fledgling gaffer with some gear, you need to hear from
a seasoned mentor who will talk candidly about the ins and outs,
the highs and lows, the red flags and the sweet spots of
production. I’ve known Alan for the majority of my 30 plus years in
this business and I can’t think of a better person for you to hang
out with to learn the large picture fundamentals and the more
nerdy, fine tuned aspects of what we do as lighting professionals.
He’s not only smart, and thoughtful, but very willing to share all
his tips and tricks... with you! Don’t pass this up. Enjoy.'
Luke Seerveld Host of Meet The Gaffer on YouTubePraise for the
Previous Edition: "Motion picture lighting is an art. This book
will teach you how to play the instruments in an immensely
informative and thorough way. In the 30 years since we first worked
together, Alan has become a master of light. He has always been the
first to embrace new lighting tools and techniques. His wide range
of experience through Hollywood features, TV movies, commercials,
music and corporate videos of many styles lends depth to his keen
observations. This book, like his work, is meticulous, extensive,
precise, a luscious read and should be in any cinema student,
scholar and technician’s library."David Claessen, Director of
Photography
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