en shot assignments.

1. A three-quarter or waist-high silhouette of 1 or 2 people perfectly exposed for the background 
with the foreground figure(s) completely dark. There should be enough distance between foreground 
and background that the spill of one area does not interfere with the other. 
2. Invert the lighting in #1, using exactly the same pose and framing with perfectly exposed 
foreground figures at 4:1 key/fill (two stops) and completely dark or just barely visible details in the 
background. 
3. A waist-high person in soft (diffused) side light, no fill light, and a specular edge light from the 
opposite side with the background as dark and unlit as possible. An incident reading of the edge light 
should be about the same f/stop as the key light if the subject has light features, or one stop brighter 
if the subject has dark features. Expose for the diffused key light. 
4. Identical pose and framing to #3 but with added light and shadow (using barn doors, or other 
shadowing material) shaping and highlighting the background (think of it as painting the background 
with light and shadow). 
5. A scene with a standing or seated person, a candle (either held by hand or on a table) seemingly 
lighting the person but actually enhanced with additional light, and a circular glow simulating the 
effect of the candlelight on the background. 
6. A person reading in bed by lamplight at midnight (implied by light, shadow, framing, ratio, 
composition, and a “practical”). 
7. A person sleeping in bed at 3 am with shadows implying moonlight coming through unseen 
foliage or blinds onto part of the scene. You may want to gel the moonlight source or the fill light 
with a blue or other color gel. 
8. A person in bed at sunrise (implied by light, shadow, color, and composition). 
9. Simulate the pose, surface tones, and light of a specific frame from a film of your choosing. If 
possible, also turn in a still image of that frame. 
10.
Shoot an interior still with at least one person in it using whatever light sources already exist in 
the location (lamps, overhead lights, windows, etc.), but without showing any of those sources in the 
frame. Now, turn off/cover those sources and replicate, as nearly as possible, that scene using only 
artificial lighting. Also shoot wide shots of both the “natural” lighting sources and the artificial 
sources.

Since it is available in video, instead of using gels, I white balanced off of different color swatches, for a greener look, I white balanced off of a magenta tone, blue look, orange tone, etc...

I also lowered the blacks and raised the mids in Color, to give the video a more filmic look.