Misè-en-Scene

• • The ones that viewers notice most
  • In French, mise en scène literally means “the action of putting onto the stage.”

  Misè-en-Scene
• • Misè-en-scene offers the filmmaker four general areas of choice and control:

  setting, costumes and makeup, lighting, and staging
• • The drama on the screen can exist without actors. A banging door, a leaf in the wind, and waves beating on the shore can heighten the dramatic effect.

  Setting
• • The costume is a very important thing. It speaks before you do. You know what you’re looking at. You get a reference and it gives context about the other characters and their relationships.

  Costume and Makeup
• • Modern digital capture can produce a legible image in bright or dark situations, and for many purposes, all that matters is that the subject be visible. But the practiced filmmaker wants more than legibility. The image should have pictorial impact, and for that it’s vital to control the lighting.

  Lighting
• Types of Lighting

  Highlights and Shadows

  1. Quality
  2. Source
  3. Direction
  4. Color
• • Lighting shapes objects by creating highlights and shadows.
  • highlight is a patch of relative brightness on a surface.
  • Shadows likewise do the same, allowing objects to have portions of darkness (called shading) or to cast their shadows onto something else.

  Highlights and Shadows
• • Lighting quality refers to the relative intensity of the illumination.

  Quality
• • creates clearly defined shadows, crisp textures, and sharp edges, whereas 

  Hard lighting
• • creates a diffused illumination.

  soft lighting
• • The direction of lighting in a shot refers to the path of light from its source or sources to the object lit. For convenience we can distinguish among frontal lighting, side lighting, backlighting, underlighting, and top lighting.

  Direction
• • can be recognized by its tendency to eliminate shadows.

  Frontal lighting
• • (also called a crosslight) sculpts the character’s features.

  Hard sidelight
• as the name suggests, comes from behind the subject.

  backlighting
• suggests that the light comes from below the subject.

  Underlighting
• is exemplified by, where the spotlight shines down from almost directly above.

  Top lighting
• • In making a documentary, the filmmaker may be obliged to shoot with whatever light is available.

  Source
• Directors and cinematographers manipulating the lighting of the scene typically decide on two primary sources:

  Key light

  Fill light
• primary source,

  Key light
• refers to an overall lighting design that uses fill light and back- light to create relatively low contrast between brighter and darker areas.

  High-key lighting
• creates stronger contrasts and sharper, darker shadows.

  Low-Key lighting
• We tend to think of film lighting as limited to two colors: the white of sunlight or the soft yellow of incandescent room lamps. I

  color