Edited by Jon Rosenbloom, 28 September 2009 - 08:38 PM.
Why do "Toppers" work?
Posted 28 September 2009 - 08:38 PM
Posted 28 September 2009 - 08:43 PM
Posted 29 September 2009 - 12:24 PM
David, I'm shocked that you haven't recommended "Film Lighting" in your reply!
Posted 29 September 2009 - 12:50 PM
Posted 29 September 2009 - 01:49 PM
My guess is, it's simple geometry, in that the key is at a good angle for the subject, but as you get farther from the key, it just becomes a bland frontal light for the back wall, so it's best to get rid of it. ...
I think you are absolutely correct.... that is why we knock it down but still use it nonetheless . It makes sense because it gives us directional light. Most light we experience is just that. Directional. At times we do completely knock the rear wall or background down as much as possible and re-light it from a completely different angle.... and in a classical sense this is unnerving. Great for effect tho!
Here ya go Satsuki FILM LIGHTING
Posted 29 September 2009 - 02:53 PM
Posted 29 September 2009 - 03:13 PM
I feel like what was said is certainly part of it. I also feel like it could be as simple as when you see light come through a window, there's a natural topper on it via the window frame. Or a light coming through a door frame in your house... It's natural for light not to just fly into the ceiling, aside from a few particular circumstances.
That's a very good point and I was going to mention that but you beat me to it. That's what makes it look natural. The harder the light, the harder the shadows.
Posted 01 October 2009 - 02:19 PM
Posted 01 October 2009 - 02:40 PM
Separation. You had a lit subject and a lit wall. Now you have a lit subject against a dark wall.
Realism. Generally direct sunlight isn't hitting high on a wall. We're used to seeing rooms where the top half is darker than the bottom half.
Posted 06 October 2009 - 05:37 PM