The use of lighting in film

 Hey blog! this is my third post for the week, and today I’m focusing on another key element of mise-en-scene—lighting. Lighting is one of the most powerful tools in filmmaking, shaping the mood, atmosphere, and even character development. Since I’m working on a film centered around cooking, I want to explore how lighting can be used to enhance the story and visuals of my film.

Lighting is essential in establishing the tone of a scene. For example, a warm, golden light can make a kitchen feel cozy and inviting, perfect for a heartfelt scene of a family cooking together. On the other hand, harsh, cold lighting can create a sterile, high-pressure environment, like in a professional kitchen where tension runs high. By adjusting the intensity, color, and direction of light, filmmakers can completely change the audience’s perception of a scene, and thats what I plan to use, I want to create an alternating atmosphere for my film.

One classic example of lighting in film is in Chef (2014). In the movie, warm lighting is often used in scenes where the main character, Carl, is cooking with passion, emphasizing the joy and artistry of food. However, when he’s working in a restrictive restaurant environment, the lighting is cooler and more controlled, visually reinforcing his lack of creative freedom. This contrast highlights his emotional journey and makes his transition into independent cooking even more impactful.

Shadows and contrast can also be used effectively. In my film, if I want to show the character struggling at a low point, I might use dim lighting with deep shadows to emphasize isolation and doubt. As well as a winning moment such as finally perfecting a dish could be bathed in bright, natural light to symbolize success and clarity, those are only some of the ideas so far of what I might want to do with lighting. Another great example is in Ratatouille (2007), where the kitchen is often lit with rich, warm tones, making the food appear more appealing and reinforcing the film’s theme of passion for cooking. Meanwhile, the harsh, dramatic lighting in Anton Ego’s office makes the space feel cold and uninviting, visually representing his intimidating character.

Lighting can also be used dynamically to reflect a character’s growth. In my cooking film, I might start with dull, flat lighting when the protagonist feels uninspired, then gradually introduce more vibrant and colorful lighting as they gain confidence and skill. I want to really experiment with the lighting of these scenes and see how well they can fit the film I have in mind.