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Geezer Games - Commercial

Product: For Goodness Shakes - Protein Shake

Director: Mark Stoba

Director of Photography: Myself (Dave Lynch)

Adam Harrison (Camera Operator, Left) and myself (DOP, Right) deep in conversation about the shot. (Photo by Mohammad Hassan)

Pre-Production:

This was my first shoot as a Director of Photography and I got asked to be a part of it only a few of weeks before we were due to start shooting so I had to get together with Mark Stoba (Director) quickly to decide how we wanted the commercial to look, unfortunately we didn’t actually have a brand or location sorted so we were quite stuck for how we wanted the commercial to look, I looked around for some inspiration on other football commercials on YouTube, below are some I found that I wanted to take some inspiration from.

Nike - Risk Everything (Nike, 2014) [1]

Nike - The Switch (Nike, 2016) [2]

Obviously we don’t have as big of a budget as Nike does, but I really liked the idea of fast cuts whenever football is being shown or played and how everything is slower paced when it’s not being shown. Mark and I decided early on that we wanted it to look like proper grass roots football. The idea we settled on was three mates playing in a park, lots of close ups and fast paced cutting, we wanted nice shots of the ball getting dribbled and hitting the crossbar as we thought they would make great cutting points in the edit, then we spot an old man sitting on the bench, watching the three lads play, a twinkle in his eye reminding him of his youth, he pulls out some sort of energy drink from his bag and takes a swig. The ball then gets miss-kicked by on of the lads and lands at the old mans feet, they shout over to him “Oi Granddad, give us that ball back”, we wanted some kind of incentive for the old man to show off his new found energy thanks to the drink, so, he slowly walks forward, ball in hand, he suddenly drops the ball and starts doing various freestyle tricks, the lads are gobsmacked, they stand there looking gormless, the old man then boots it back towards them, hitting one of them on the head. Next would be the pack shot of the drink, and we wanted the background out of focus so we could get a nice shot of them chasing the old man.

When looking at those two commercials before I noticed during the scenes in the various parks and football pitches of England, they got very lucky with the weather, this was a big concern of mine as I really wanted it to be over cast so we get that grey dull looking classic English weather but looking at the weather for both days we weren’t going to be that lucky. It was sunny with clouds for the days we were allowed to shoot, which meant the lighting would be all over the place. On a big budget commercial, this wouldn’t be an issue, as they would probably just get a huge 20 x 20 frame with silk on a frame and fire a bunch of huge lights into to control the light all day, we however did not have that luxury. Mark (Director) and I planned the shots together a few days before we were due to start shooting, my one concern going into this was I didn’t know enough about lenses, so I did a little research and found this great page explaining all about what certain lenses do, after reading this I felt a bit more comfortable asking for certain lenses during the shoot. (See below) http://www.photographymad.com/pages/view/lenses (PhotographyMad, 2017) [3] I found this webpage that had lots of useful tips about shooting outside during the day, but being a Gaffer for most the year I wasn’t that concerned about how I was going to handle the lighting, I just had to wait and see how the sun was going to be that day. (See Below) https://www.premiumbeat.com/blog/6-tips-for-filming-outdoors/  (Paul, 2015) [4]

Shoot Day:

Getting ready for the first shot of the day. (See Above, Photo by Mohammed Hassan) The day started fairly nicely as it was completely overcast, so the weather report wasn’t accurate which was fantastic news for us as it meant we would have similar lighting all day if it stayed like this, unfortunately it didn’t last too long as a couple of hours into shooting the sun came out and it looked like it was going to be there all day. This meant the lighting on our first few shots wouldn’t match the rest, so we had a slight set back when having to go back to get those first few shots again in the sun. The rest of the day the sun was dipping in and out of the clouds so we decided we had to cover the shots in both weather conditions, with and without sun so the edit had any chance of decent continuity. It was nearing the end of the day and we had covered most of the shots we needed, all that was left was a couple of variations on the freestyle moves and the pack shot we ended up getting these during the golden hour, which looked great but they didn’t match the rest of the commercial at all, so i am a bit worried about how they will all fit together in the picture locked edit.

Discussing a shot with the Director Mark (See above - Photo by Mohammed Hassan)

Post-Production

I’ve not had much of a chance to be around during this process, and neither has the Director as we have both been been with prior engagements, but we hope to have a look at the official assemble in the coming weeks. Below is an assemble edit I have done myself, I want to point out some of the things I liked about about certain shots and some of the things I didn’t.

My assemble edit:

Liked:

- The opening shots of the lads playing football are nice, there is good lighting continuity in there.

- I came up with the idea of the three shot and the lad getting hit on the head and I think it’s one of the better parts of the commercial.

- Overall I think we might be able to sort a few big issues out as we filmed both with and without sun.

Disliked:

-Would have probably liked more shots and cutaways of the boys playing football, I feel like I could have made the opening few shots a bit more fast paced.

- Lighting with the old man is all over the place due to the sun dipping in and out of the clouds and we hit golden hour so there is a big change during the pack shots and a few of the freestyle shots.

- I would have liked to maybe get some more shots of the freestyle from all sorts of angles, I feel like it would give us a lot more to play around with in the edit.

- I wasn’t a huge fan of the make up on the actor, it kept on peeling off which was noticeable on his hand during the close up of him drinking.

- I know he is supposed to be old but at times I felt that he moved too slow, this made the takes drag on and were hard to cut around.

Final Thoughts

Overall I am happy with how the shoot went, I had a great team behind me, pushing me to do this and I’m glad I did. I don’t know if I’d DOP again any time soon but I wouldn’t rule out giving it another go in the future.

(Photo by Mohammed Hassan)

Testimonials

“Dave Lynch: A calm and collected chap who can roll with the punches when plan A collides horribly with plan B and shit hits the fan. A wonderful personality on set, he carries himself with a professional momentum. Dave Lynch, the man, the legend, the gaffer!” Mark Stoba (Director) “As a DOP on geezer games there are a lot of people that talk a big game of how they can DOP, But I feel Dave Lynch stepped up to the plate for that shoot, this has 100% given me the confidence to go to Dave for DOP advice when I'm in my 3rd year of Uni. You can see from the shoot and the pre-production, Dave put a lot in to that shoot especially with selecting the location and the lenses and the lighting techniques it all came together for a great efficient enjoyable end to the shoot.” Conna Magee (Gaffer)

Geezer Games Bibliography

[1] Nike (2014) Risk Everything [Online Video] Available from: https://www.youtube.com/watch?v=pCVF0CSRTYA [Accessed 10 April 2017]

[2] Nike (2016) The Switch [online Video] Available from: https://www.youtube.com/watch?v=scWpXEYZEGk&t=184s [Accessed 10 April 2017]

[3] PhotographyMad (2017) Camera Lenses [online] PhotographyMad. Available from: http://www.photographymad.com/pages/view/lenses [Accessed 15 April 2017]

[4] Paul, J (2015)  6 Tips for Filming Outdoors [online] Premium Beat. Available from: https://www.premiumbeat.com/blog/6-tips-for-filming-outdoors/ [Accessed 16 April 2017]

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Goodbye - Short Film

Director: Rebecca Bennett

Director of Photography: Connor Colman

My Role: Gaffer

The small lighting team for this shoot, myself (Gaffer, Left) and Conna Magee (Best Boy, right) finding the best way to block some light spilling into the set. (Photo by Anthony Singh)

Goodbye was another shoot that I didn’t get much time for pre-production on because it was right after the Travel Deep music promo in Formby and there was a delay getting back to the studio to pre-light, so we only had one day for lighting tests and the pre-light which wasn’t ideal, especially seeing as the two sparks we had originally got on board to help out on the shoot didn’t show up. Myself and Conna (Best Boy) Still manged to get everything done on time, so I am happy with how efficiently we worked together. When Connor (DOP) explained that he would be shooting this short film using something called lower quadrant framing I had to look it up as it is something I had never really seen before, below is a great video explaining how lower quadrant framing is used in the TV show Mr. Robot: (FilmInTheMaking, 2016)[1]

http://nofilmschool.com/2016/09/socially-anxious-framing-mr-robot-and-how-its-used-tell-stories (Renee, 2016) [2]

After looking into what lower quadrant framing involved I realised that there might be a lot of empty space in the frame that might needed to be filed by a practical light or something please to the eye, so I tried to make sure throughout the shoot I was checking the monitor whenever we were attempting a shot with lower quadrant framing.

The set up for lighting was fairly simple, the DOP showed us a lighting plan (see below) 

(Credit Connor Colman)

Overall the lighting set up was simple enough, originally the DOP wanted to put a skylight in over the set to act as the key light, but after some discussion, we decided a 2K spacelight was better because it will provide a much better and softer light than the skylight would. The first day was simple enough, not many lighting changes, only prepping the small china ball on a boom pole to enhance the light on the actors faces. The second day we began in the bedroom set, this scene was set at night so it required the 1.8 HMI blasting through the window with gels on it to emulate the look of moonlight, using my knowledge of gels I learnt on Jack I offered up the blue and green gel and the DOP loved it.

Above is a picture of the bedroom set, we had practical lights placed all around the room to make it look interesting and used smaller lights such as the ARRI 300 and dedo’s to help enhance the practicals. (Photo by Anthony Singh)

In the evening we had a few shots to get outside, so I prepared a 2K with sodium gel outside firing down into the car to emulate a streetlight again. The DOP was happy with the placement, all we had to do then was get some LED’s on standby. The next day we were shooting quite late, so I went in a bit earlier to go on a recce with the DOP, the location was on a street right next to the studio, but we didn’t have any access to power so we had to rely on the street lights and the LED’s as they were also battery powered. I observed that the lights provided a white light instead of the typical tungsten light. so I knew I had to set the LED’s to match that light when we set them up.  The LED’s have two settings, daylight balance which is more of a whiter light and tungsten balance which is more of an orange light, I felt I wanted to know more about both of the balances so I looked online and found this great video explaining them in more detail (See below) (Kriscoart, 2016) [3]

Overall I am fairly happy with the way this shoot went, nobody was really waiting on us even though we were a two man lighting crew, we worked fast and to a very professional standard.

If I could do one thing differently next time, I would make sure we had enough days for pre-lighting as I feel only having one day for everything may have effected the overall look of the final film and cause the editor to send a lot of time colour grading the edit.

Testimonial

“Dave really helped me out in this shoot as Gaffer as he has a lot more experience than me so having him as one of my HOD's really helped me concentrate in the bigger picture and not have to worry about little things as I knew Dave had the lighting department under control for me. He also helped me out creatively offering me many different ideas thought the days which I took many on board. I'm glad I got Dave on this to help me out” 

Goodbye Bibliography

[1] FilmInTheMaking (2016)  Mr Robot: Quadrant Framing [online video] Available from: https://www.youtube.com/watch?v=DNplQBbxjbw [Accessed 5 May 2017].

[2] Renee, V.  (2016) The Socially Anxious Framing of 'Mr. Robot' and How It's Used to Tell Stories [online] NoFilmSchool. Available from: http://nofilmschool.com/2016/09/socially-anxious-framing-mr-robot-and-how-its-used-tell-stories [Accessed 5 May 2017].

[3] Kriscoart (2016) CINEMATIC LIGHTING: Understanding Daylight vs Tungsten [online video] Available from: https://www.youtube.com/watch?v=udCyyUaEs6E [Accessed 16 May 2017]

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*There was a problem sending the call sheet on the second day due to the internet at the location we were staying in, so Unfortunately I only have to one call sheet to show.

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Travel Deep - Music Promo

Artist: 7even Spherez

Director: Marc Anderton

Director of Photography: Anis Sebti

My Role: Gaffer

Myself (Gaffer, Right) and Connor Colman (Spark, Left) Discussing the shot. (Photo by Peter Waiting)

Travel Deep was a great experience for all involved, this was the first time travelling to a different location and staying overnight there for a two day shoot. When I was asked to gaffer I didn’t realise how challenging this shoot could be, my first thought was that it would be a breeze for lighting as we’ll mainly be using natural light and reflectors to bounce it around and maybe bring the 12 x 12 down to the beach with a silk on it to diffuse the sunlight during the close up shots. Below is a link to a website that told me all about how and why reflectors are used:

https://photographylife.com/how-to-use-a-reflector/ (Bosley, 2015) [1]

After I saw the location the day before the we were due to start shooting, I realised we would not be able to use the 12 x 12 as it was far to windy on the beach and not safe enough to rig, so in reality our job got even easier, I looked up what the lighting department should do when shooting exteriors without any lights and found this great WordPress about 3 rules to shooting outside with no lights.

https://filmcameracourse.wordpress.com/2012/01/11/filming-without-lights/ (weaver,2012) [2]

looking at that I felt like I was on top of everything, I just had to make sure we had enough flags and reflectors on hand, as well as keep an eye on the sun throughout the day so we have some consistency in the lighting, because if the sun went behind the clouds for an extended period of time and we kept shooting, the shots would not match. The only lights we used were the LEDs  to enhance the light on the actors during the evening, this is also known as the ‘golden hour’ where the light is at it’s prettiest, i’m sure these shots will look great in the edit.

“Also known as "magic hour," golden hour is that fabled stretch of time directly after sunrise or before sunset during which the sun casts golden hues of soft, warm light. During these small windows, sunlight is filtered through more surface area of the earth's atmosphere; as a result, more blue wavelengths are scattered, and the light takes on a red/yellow tint.” (Buder, 2016) [3]

Above is a great photo of the camera crew preparing to shoot at the golden hour. (Photo by Peter Waiting)

The second day involved myself keeping an eye on the sun as we were in a bit of ditch in the dunes so we were fighting against time as the shadows from the sun setting were slowly creeping up on us later on in the day, luckily for the entire day there were no clouds so we didn’t have to worry about them coming out to block the sun at all. in the end we managed to get all the shots we needed.

This shoot was challenging for a couple of reasons, the first was lugging all the equipment down the beach to the location, the sand was whipping in your face all day and making sure the equipment was safe from the sand and the wind, but it was all worth it at the end. Below is a small edit from the fight scene from the second day of the shoot, the footage looks great and I can’t wait to see the full edit.

The only thing I would do differently for the next shoot is pack more appropriate clothing, as I constantly had sand in my shoes and I should have packed a balaclava to stop the sand hitting my face throughout the day. Below is a picture of one of the reasons why I should come better equipped for exterior shoots. (Photo by Peter Waiting)

Travel Deep Bibliography

[1] Bosley, J. (2015) How to use a reflector [online] San Francisco: PhotographyLife. Available from: https://photographylife.com/how-to-use-a-reflector/ [Accessed 22 April 2017]

[2] Weaver, C (2012)  3 Simple rules for filming without lights (Exterior). [online] ThroughTheLens. Available from: https://filmcameracourse.wordpress.com/2012/01/11/filming-without-lights/ [Accessed 22 April 2017]

[3] Buder, E (2016)  Romanticize Your Cinematography with New App 'Golden Hour [online] NoFilmSchool. Available from: http://nofilmschool.com/2016/08/golden-hour-magic-hour-shoot [Accessed 23 April 2017]

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Cycle - Music Promo

Artist: Dizzy DROS

Director: Anis Sebti

Director of Photography: Joshua hunt

My Role: Gaffer

Joshua Hunt (DOP, Left) and myself (Gaffer, Right) Discussing the lighting for the next shot on the set of Cycle. (Photo by Anthony Dennett)

Cycle was set to shoot at a bit of an awkward time, it was just as most departments had come off of another project so the Pre-Production from my point of view could have been a bit better, because I was so busy on the previous shoot I had to get in and sort out the pre-light as fast as possible, luckily it was a fairly simple set up and Josh (DOP) had done the rigging of the practical lights the week before.  Josh had asked my opinion on what to use when we were on location for the first day when shooting in the bedroom, I suggested maybe using a 1.8 HMI to act as strong sunlight, on a wind up stand so we can get it high up, and maybe some LED’s in there too to enhance it further if needed, which was something similar to what we did on ‘Jack’, he liked the idea and went along with it. The first day was fairly simple, just using the HMI and LED’s for most of the day, when we set up the HMI outside, Josh had asked me what kind of scrims we had for it, I didn’t really know what he meant by that, so I just offered them both up for him and he chose the one he liked the most. I felt like this was something I needed to know if a DOP asks me what kind of scrims I am putting in front of the light, so I had a look online when I got a spare minute and found this great YouTube page called ‘Grip Tips’ that had a video all about scrims, see below. (Grip Tips, 2016) [1]

after they had finished shooting outside we made our way back to the studio to being shooting the next scene. We had already sorted the lighting out in the the day before so it was just a case of getting in and turning all the lights on and making any last minute tweaks.

(Photo by Anthony Dennett) Above is a picture of the lighting set up for the studio for the first scene, each half of the set was lit differently, with the left side heavily lit in a blue light and the right side having a strong orange look to it this was achieved by using:

- Fluorescent tubes mounted to the wall and ceiling with blue and orange gels wrapped around them.

- Two Kino’s with blue and orange gels attached acting as a fill light for the actors.

- 575 HMI blasting through the door with a pink gel on.

- Two LED’s attached to the rig with blue and orange gel on again as a way to enhance the light from the fluorescent on the wall.

- One Dedo with red gel, used to enhance the red lamp by the side of the couch. 

The day we had a new scene which was a bit more simple in terms of lighting, we had to act quickly to take the LEDs, Kinos and fluorescents down and rig a spotlight, but over all I am happy with the speed we got this done, everyone was helping each other out to get turning over quicker. Below is a picture of the second set up (Photo by Anthony Dennett)

The final set up was in one of the rooms upstairs so myself and Conna (Best Boy) went to prepare that while they were shooting downstairs in the studio as there was no lighting changes for these shots. We had to try to emulate the look of a TV on someones face using LEDs, so we decided it would be best to rig the to a scaffolding pole above the TV so they were completely out of shot. The light still seemed a bit too white and strong for the look of a TV, so we stuck some diffusion on it to make the light less harsh, but the light was still too white, so I had a look online to see what would be best for the situation and came across a forum that suggested using CTB or any other type of blue gel, in the end I tried ‘Steel Blue’ and it looked the best out of the gels we had on hand. (See link below)

https://www.dpreview.com/forums/thread/2665531 [2]

Josh was happy with what we had done for him, so we went to the studio to start the de-rig.

Overall I enjoyed the shoot, working with Josh again was great, he is so easy to work for, and very good at communicating what he wants from me, which was great because even though there was a lack of pre-production all round he made everything easy for the lighting team.

One thing I would do differently next time would make more of an effort to be involved with pre-production so I feel more prepared going into the shoot, and if i can’t make a meeting, I should send someone else on my behalf to make notes, I was lucky on this occasion that Josh (DOP) had made some notes for me over the course of pre-production.

Testimonial

“Gaffer for Cycle he was organised, efficient and in charge of the lighting department. When something needed to be done it was done quickly and correctly. Safety is a big concern for Dave and he likes to make sure everyone on set is in good hands, he rarely (to never) takes risks.” (Joshua Hunt - DOP)

Cycle Bibliography

[1] Grip Tips (2016) Ep 09: Scrims [online video] Available from: https://www.youtube.com/watch?v=MkPLSjAm8z0 [Accessed 26 April 2017]

[2] dpreview (2009) Light from a television [online] dpreview. Available from: https://www.dpreview.com/forums/thread/2665531 [accessed 27 April 2017]

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Misandrist - Short Film

Director: Jobe Wolf

Director Of Photography: Joshua Hunt

My Role: Gaffer

“How many sparks does it take to work the hazer?” The lighting team on Misandrist. Me (Left, Gaffer), Conna Magee (Middle, Spark) and Connor Colman (Right, Best Boy) (Photo by Anthony Dennett)

When Joshua Hunt (DOP) approached me asking me to be Gaffer on Misandrist, he told me that he wanted a unique lighting set up using: - 3 spot lights - A number of practical lights hanging just in shot with vintage bulbs - Some police style lights - HMI blasting through a window and blinds for a film noir feel.

The first problem that we had was that we only had one spot light, and seeing as he wanted different ones dimming up and down for when the actors delivering their lines we couldn’t constantly take the rig up and down to move a light over and over again, this wasn’t very practical and would have wasted a lot amount of time over the shoot. So we had to ask the lighting company P.K.E for some help,as they have been kind to us in the past and let us rent things free of charge. After a discussion with some professional lighting technicians Michael Bonner and Turbo Erdenetsogt we decided the best lights to use for the job would be between the Source 4′s and Mole Beams. Below are links to pages abut these lights

Mole Beam http://www.pkelighting.com/mole-beam [1]

Source 4: https://www.etcconnect.com/Products/Lighting-Fixtures/Source-Four/Source-Four/Features.aspx [2]

After further discussion we decided we wanted to use 3 source 4′s instead of the Mole Beam’s because we felt that the Source 4′s had a sharper shaft of light compared to the Mole Beam’s.

Above is a picture of the Source 4′s in action, I believe we made the right choice, and it was good to have a new light to rig, luckily for us it was very similar to the spotlight we already had on hand so it wasn’t hard to rig.

The practical lights weren’t difficult to sort out, once they had been wired up it was just a case of rigging them which didn’t take long at all. The next challenge we faced was figuring out how to give the effect of police lights, the next day Josh came up with the fantastic idea of creating boxes wrapped in a silver paper that we can put on boards, and spin them around whilst firing light into them with medium blue gels on to give the illusion of police lights. He asked for my opinion on what kind of light we should fire onto the boxes, I suggested maybe a couple of ARRI 2K’s, we tested them and they worked perfectly. Below is a shot of the police lights in action.

The last issue we faced when it came to pre production was how to light something in a film noir style, having never done it before Josh (DOP) and I sat down and looked for stuff online. In the end we both came across this website which was a big help when it came to teaching us the basics of noir lighting: http://filmmakeriq.com/lessons/the-basics-of-lighting-for-film-noir/ We decided to wanted to use a Gobo to create the effect of blinds on the characters face at first.  “short for Go Before Optics. These are cutouts made of metal or glass that go inside the light fixture between a light source and a lens. These can cast a perfectly crisp shadow but require specialised lights that have projection lenses.” [3] (FilmMakerIQ, 2017) After some discussion and some lighting tests we found that using actual blinds would be better for the shoot because we can have the characters interact with them.

Above is a little video of our footage from the first lighting test (Credit Joshua Hunt)

The pre-light was quick and painless, over the year I am very proud of the lighting team I have gathered, we all trust each other to get the job done safely and efficiently, once we knew what we were doing everyone got on with their job in a professional manner.

Here is a video of the lighting and camera test a few days before the shoot:

(Credit Josh Hunt)

During the first act of the short film the lighting team had it quite easy, all we had to do was make sure the hazer was running first thing in the morning to give a nice look to the scenes and it would also show off the streaks of light from the spots, and dim a few of the spot lights when given a cue.

Above is a picture of the setup from the first act.

The second act of the film was a bit more challenging for the lighting team as we had to take down the sources 4′s to go back to P.K.E in the afternoon which delayed thing a bit, as well lower the practical lights above the bar and rig some more practicals in the middle of the set to act as an ambient light. This act is where the police lights came on, so they had to be brought in to the correct place where they would hit the cast’s face nicely when spun. Lastly we had to drop the blinds in order to create the noir effect we research in pre-production. Over the course of the shoot there were little tweaks here and there, such as bringing a Kino Flo in to add a little bit more light into the scene and putting up some blackout to hide the set through the windows, but nothing to intense.

Above is a shot of the second act of the film, here you can see the noir lighting in effect from the blinds hitting the actresses back on the right and the vintage practical lights we rigged above the bar and in the middle of the set.

Overall I am very happy with the way this shoot went, I learnt how to use a new light and also how to light in a film noir style. I already knew how to do most of the other stuff the DOP asked me to do so everything went very smoothly on lights part apart from the change over to the second act because the shoot was already running behind and we had to work as fats as possible to rig and de-rig some lights to get the shoot going again. Below is a link to the trailer on the film’s Facebook page: https://www.facebook.com/misandristfilm/videos/1922588117985858/

If I could do something differently next time I would probably do another quick lighting test before the second act just so there wasn’t too much time wasted tweaking the lights, if we know straight away what works and what doesn’t we wouldn’t have to slow down the production for any reason. I think I would also organise the lighting equipment a bit better, at times it felt like it was scattered about all over the place and was hard to find a few things which slowed us down a little bit at times.

Testimonial “Dave was my gaffer for Misandrist, he was there throughout lending a competent hand and knowledgeable head. He organised his team of sparks with ease and efficiency and even told me off several times for trying to do his job. Everything that I wanted to be done was done in minutes and the turnaround from act 1 to 2 was completed.” Joshua Hunt DOP

Misandrist Bibliography

[1] P.K.E (2017) Mole Beams [online] Leigh: P.K.E. Available from: http://www.pkelighting.com/mole-beam [accessed 25 March 2017]

[2] E.T.C Connect (2017) Source Four: The fixture that changed the lighting industry. [online] Middleton: ETC. Available from: https://www.etcconnect.com/Products/Lighting-Fixtures/Source-Four/Source-Four/Features.aspx?LangType=1033 [Accessed 25 March 2017]

[3] FilmMakerIQ (2017) The Basics Of Lighting For Film Noir. [online] FilmMakerIQ. Available from: http://filmmakeriq.com/lessons/the-basics-of-lighting-for-film-noir/ [Accessed 26 March 2017].

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