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One of the most useful bits of kit you can buy is a folding five-in-one reflector. These are great value: they include a diffuser and a zip-on cover with white, silver and gold reflectors and a black side to intensify shadows. Alternatively, you could use kitchen foil glued to card, or white styrofoam insulating board.

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Medium-sized lights – like the light from a window, or a Chinese paper lantern – give a nice balance. They’re big enough to be reasonably soft but small enough to be atmospheric.

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With any lights, be careful about overheating and the dangers of breaking glass, toppling stands and trailing cables. Don’t use LED lights without diffusers as they can cause eye damage.

Some cameras give you the option of filming in special flat or ‘log’ modes, which are useful for managing contrast. This footage looks dull straight out of the camera, but is easier to correct at the editing stage.

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Rim light – from a light behind the subject, but out of shot – can be atmospheric and is a good way to make the edge of the subject stand out from the background.

Then you add a third rim light (or ‘backlight’). It’s behind the subject,  but out of shot, to make the edges of the subject stand out from the background.

If you can adjust the contrast in your camera, turn it down. Turn down the colour saturation (intensity) as well. You can always boost these when you edit the film; it’s much harder to reduce them.

You can boost the light from ordinary ceiling lights and table lamps (what filmmakers call practicals) by fitting them with brighter bulbs. Use energy-saving bulbs to get brighter light without overheating. If you can afford it, buy special bulbs with good colour rendition. Manufacturers use a scale called CRI to measure this: you want a CRI of 90 or more.

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Yes, The concourse at Coca-Cola Park is wheelchair accessible. However, the field access – which includes the Santa’s Polar Express and Igloos features – is not accessible, unfortunately.  The entire Illumination event including all lights are visible from the ballpark’s 360-degree concourse.

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When you shoot a film as separate shots, it’s important to make sure that the lighting in a scene is consistent. If the lighting style and colour is too different, the shots may look as if they were filmed in different locations.

Carrying three film lights around can be a drag, but if you understand the principles of three point lighting you can use natural light and reflectors to get the same effect. You could use a window as a key light, with a folding reflector, white wall, or a sheet of styrofoam instead of a fill light.

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Three point lighting is the traditional way to light a movie scene: a main key light, a fill light to reduce the shadows, and a rim light to make the subject stand out from the background. Use the arrows on the interactive image below to see the effect as you add extra lights.

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You could bounce a powerful light, like a builders’ work lamp, off a reflector, a white wall or the ceiling. You can also use work lamps to shoot low-key (sidelit) closeups. Or you could buy a set of film lights. Halogen film lights get very hot; LED arrays use less energy and run cooler.

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Some cameras have presets for different kinds of light, eg daylight, cloudy or indoors. Some cameras let you choose the colour temperature, which is a standard way of measuring the colour of a light.

Most cameras automatically adjust for different amounts of light. Automatic exposure works pretty well for average scenes. If your scene isn’t average – if it has lots of light or dark areas in it, or you’re shooting into the light – you may need to increase or reduce the automatic setting by using exposure compensation.

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Tickets for Illumination are on sale now and may be purchased at IlluminationLV.com. Pre-purchased admission is $11 for November Illumination dates and $13 for Illumination dates in December and January. Tickets purchased during the same day for that night’s event are $13 for November and $15 for December and January. Kids, 2 and under, are free. A limited number of tickets are available for each Illumination event – advance purchases are encouraged. Tickets may also be purchased in-person at the Provident Bank Ticket Office or by calling (610) 841-PIGS.

Light from directly in front is flat and characterless and can dazzle people you’re filming – but it may be the only usable option if you’re using a basic camera that can’t handle much contrast.

Small or hard lights, like bare bulbs or direct sun, cast harsh shadows. You’ll usually need to soften them with a diffuser, or fill them – reduce the shadows – with another light or a reflector.

In the unlikely event that the show must be canceled due to extreme circumstances, you will be notified by email and your ticket can be transferred to a different date.

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Unfortunately, pets are NOT allowed. We will host our Lights & Leashes Nights, where dogs are allowed into the ballpark on Nov. 17th, Dec. 3rd, Dec. 16th and Dec. 30th.

Light from the side can be really atmospheric but is trickier to work with. Shooting against a dark background, you’ll get a moody low-key effect. You’ll probably have to adjust the exposure to avoid making the skin tones too bright.

You can also add a fourth light on the background, and a small catchlight or ‘obie’ to put a reflection in the person’s eyes.

Want to bring a group or host a party? We have options for many different group sizes. From your group of carolers to a corporate party, come spend the Holiday’s at Illumination

Most cameras use automatic white balance to adjust to different colours of light. Don’t use this for filmmaking, as the white balance may change during a shot. Either lock it, use a preset, or set it manually (the best option).

Big, soft lights – like a cloudy sky, or the light reflected off a white wall – give very even lighting and soft shadows but don’t have much atmosphere. This kind of light is the easiest to use. It’s good for scenes with a lot of detail and group shots.

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You start with a main key light. It’ s usually in front of the subject but to one side (and slightly above). Putting it to the side helps to give depth or ‘modelling’, showing the shape of the face. How far round you put the light is important: if it’s from almost in front, you’ll have flat, bright high-key lighting. Move it further to the side for dramatic low-key lighting with heavy shadows.

You should try and get the exposure right when you’re filming, but it’s more important to avoid overexposure – it’s harder to correct this when you edit. If you aren’t sure about the exposure, you should underexpose slightly.

Illumination opens November 15th, 2024, and runs select dates through January 4th, 2025. The event hours are 6pm – 9pm. Check back for our events calendar for specific promotions.

Try to make sure that all the light in the scene is the same kind. If you mix light sources – eg daylight from a window and fluorescent light in the room – it’ll be impossible to get them both right.

Illumination is a walk-thru Holiday Lights experience with over ONE MILLION lights, where you'll be immersed in a winter wonderland featuring dazzling themed light displays, synchronized shows, and festive activities.

Our Igloo’s can be added during the ticket purchasing process online for an additional charge. Igloos have a capacity of 10 guests total. Igloos include a carafe of hot cocoa & assorted holiday cookies. Additional food & beverage options will be available after your rental is confirmed. For more information you can visit the Provident Bank Ticket office in-person or by calling (610) 841- PIGS.

With any camera, the images will be better if there’s enough light, it’s in the right place, and it’s not too contrasty. But bigger cameras like DSLRs are usually better at handling low light or very contrasty light. It’s best to set the exposure manually if possible, rather than relying on automatic exposure.

Opaque specimens are typically illuminated from above (with reflected light), using orientations ranging from on-axis (parallel to the microscope optics) to ...

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To be really precise, you can set the colour balance manually by holding a sheet of white paper in front of the lens. (Some cameras require a special ‘grey card’ instead).

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Low sunlight is tricky to work with but it can be very atmospheric: many films are shot in the rich golden hour light just after dawn or before dusk.

Sunlight is trickier as it can cast harsh shadows and dazzle your subject. For a subtler effect, use it as rim light (behind the subject, out of shot) as in the shot above.

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Be mesmerized by synchronized light shows where dazzling lights dance to festive music, creating a magical and immersive holiday spectacle!

If you walk outside on a sunny day, and then come into a room lit by ordinary house lights, your eyes will quickly adjust to the difference in colour and you may not even notice it. If you try and shoot the same things with a camera they may look very different.

It’s better to have shots that are a bit too flat rather than too contrasty. Phone cameras and compact cameras are particularly bad at handling scenes with low light or high contrast.

To control  shadows, you add a fill light on the other side. Normally it should be about half as bright as the key light. For high-key lighting, make it almost as strong as the key light; for low-key lighting turn it down. (You can use a reflector instead of a fill light.)

Pay attention to skin tones as the audience will notice if these look wrong. Make sure you don’t have large areas of completely white highlights. Some cameras show you when this is happening with a ‘zebra stripe’ pattern.

Guests are reminded that Coca-Cola Park is a cashless venue. Heated Igloos, Santa’s Polar Express and all food/beverage items require additional purchases (advance purchases highly suggested).  All other activities are included in the ticket price.  Parking is FREE for Illumination!

Three-quarter light – from a 45 degree angle in front of the subject, and above  – is the normal place to put the main key light in traditional lighting setups. It gives the image depth.

Guests will be able to roast s’mores at fire pits located around the ballpark concourse and enjoy special holiday food creations and winter cocktails.  Children will have the opportunity to meet and have their photos taken with Santa and Elsa.  In addition, kids can write letters to Santa, participate in coloring games and visit Santa’s Workshop. Kids can also ride Santa’s Polar Express train or visit the playground while adults visit our Christmas Vendor Village to holiday shop or visit the heated Winter Oasis bar for a holiday cocktail, hot toddy or any of our seasonal specials.

No, Illumination is a walk-thru experience. Make sure to dress cozy, so you can enjoy the festival in comfort. The concourse at Coca-Cola Park is wheelchair accessible. However, the field access – which includes the Santa’s Polar Express and Igloos features – is not accessible, unfortunately.  The entire Illumination event including all lights are visible from the ballpark’s 360-degree concourse.

Chinese paper lanterns fitted with bright low-energy bulbs are an affordable way to get manageable, atmospheric lighting. You can also buy tougher Chinese balls designed specially for film lighting.

For better control (if your camera allows it) set the exposure manually. The simplest way to do this is by shooting test shots and adjusting the exposure until it looks right. You can also measure the light with an 18% grey card, which the ‘average’ scene colour which cameras expose for. Hold it in front of your lens, filling the frame and you’ll get the correct exposure. You could also use a separate light meter. There’s more about exposure here.

There are several ways to improve light, whether natural or artificial. Reflectors let you fill in shadows; diffusers make lights ‘bigger’ and softer. You can also block the light and deepen the shadows using black card or flags.

Remember that if you have set the white balance manually, you’ll need to change it when you go somewhere with different lighting. It’s easy to forget.