Wednesday, 18 January 2012
Friday, 1 July 2011
Television Productions And Lighting Techniques:
In lighting there are two goals:
i. Get enough light
ii. Use the light you have to shape and define objects in the scene. Lighting is often tried out "on paper" by using a lighting diagram before it's actually set. Many potential problems can be spotted in the process of constructing a lighting diagram. The lighting diagram will make it easier to see where those shadows might fall. One man, One camera The simplest type of lighting involves one camera shooting one subject. The subject is placed in the setting far enough away from any walls or backdrops to avoid casting shadows on the background near the subject. The camera is set up placing the subject in front of the backdrop.
1. Key Light:
It is first light to set up. It's positioned thirty to forty-five degrees to the side of the camera and should strike the subject at an angle of about forty-five degrees from vertical. This lighting angle is best for people with normal features. People with short noses or weak chins should be lit from a steeper angle to increase the length of the shadows cast under the nose or chin. Those with long noses should be lit with fewer angles to produce shorter shadows. Moving the light closer to the camera will reduce the amount of modeling in the face and make the subject appear heavier than he is. Conversely, moving the light farther from the camera will throw more of the face in shadow, making it appear narrower. The key light is focused
On the subject by putting the bulb in the "full spot" position and centering the beam on the subject. The light is then flooded out until a reasonable overall level is reached. "Reasonable" means you can generate sixty to seventy IRE units of video on faces with minimal video noise in the picture and enough depth of field for your purposes.
Back Light:
The back light is placed directly behind the subject, in line with the camera.
It, too, is set at a forty-five degree angle from vertical. The backlight is spotted down and aimed at the subject's neck. It is then flooded until it has about the same intensity as the key light. The back light should be adjusted to produce a crisp but subtle border around the subject. People with blonde (or missing) hair require less intensity. People with very dark hair require more. When the back light is still too bright in the full flood position, a scrim can be fitted in front of the housing to soften and reduce the light.
Fill Light:
Fill light is added on the side of the camera opposite the key light. Fill light should be about half the intensity of the key and back lights. It should also be softer, producing no harsh shadows. Often a broad, scoop, or soft light is used instead of a spotlight to provide fill. Fill lights are also frequently scrimmed to soften them and reduce their intensity.
Background:
Finally, background light is added to bring the background up to a level in the middle of the overall gray scale of the subject. Background lighting should be even and unobtrusive. The background shouldn't be made the center of attention with harsh or uneven lighting.
i. Get enough light
ii. Use the light you have to shape and define objects in the scene. Lighting is often tried out "on paper" by using a lighting diagram before it's actually set. Many potential problems can be spotted in the process of constructing a lighting diagram. The lighting diagram will make it easier to see where those shadows might fall. One man, One camera The simplest type of lighting involves one camera shooting one subject. The subject is placed in the setting far enough away from any walls or backdrops to avoid casting shadows on the background near the subject. The camera is set up placing the subject in front of the backdrop.
1. Key Light:
It is first light to set up. It's positioned thirty to forty-five degrees to the side of the camera and should strike the subject at an angle of about forty-five degrees from vertical. This lighting angle is best for people with normal features. People with short noses or weak chins should be lit from a steeper angle to increase the length of the shadows cast under the nose or chin. Those with long noses should be lit with fewer angles to produce shorter shadows. Moving the light closer to the camera will reduce the amount of modeling in the face and make the subject appear heavier than he is. Conversely, moving the light farther from the camera will throw more of the face in shadow, making it appear narrower. The key light is focused
On the subject by putting the bulb in the "full spot" position and centering the beam on the subject. The light is then flooded out until a reasonable overall level is reached. "Reasonable" means you can generate sixty to seventy IRE units of video on faces with minimal video noise in the picture and enough depth of field for your purposes.
Back Light:
The back light is placed directly behind the subject, in line with the camera.
It, too, is set at a forty-five degree angle from vertical. The backlight is spotted down and aimed at the subject's neck. It is then flooded until it has about the same intensity as the key light. The back light should be adjusted to produce a crisp but subtle border around the subject. People with blonde (or missing) hair require less intensity. People with very dark hair require more. When the back light is still too bright in the full flood position, a scrim can be fitted in front of the housing to soften and reduce the light.
Fill Light:
Fill light is added on the side of the camera opposite the key light. Fill light should be about half the intensity of the key and back lights. It should also be softer, producing no harsh shadows. Often a broad, scoop, or soft light is used instead of a spotlight to provide fill. Fill lights are also frequently scrimmed to soften them and reduce their intensity.
Background:
Finally, background light is added to bring the background up to a level in the middle of the overall gray scale of the subject. Background lighting should be even and unobtrusive. The background shouldn't be made the center of attention with harsh or uneven lighting.
Television Production And Lighting Instruments:
There are four basic kinds of lights used in television.
These May be
i. spot lights(with narrow beam it casts well-defined shadow)
ii. broad lights( wider beam and casts a softer shadow)
iii. flood lights (broad illuminated circular pattern with a diffuse shadow)
iv. soft lights (almost it doesn’t cast shadow)
The intensity and beam spread of spots and some other lights may be adjusted by moving the lamp forward or back in the lamp housing. When the beam is narrow and intense the lamp is "spotted down." When the beam is wide and more diffuse the lamp is "flooded out.” All lamps have not this adjustment.
Barn Doors:
Most lamps are fitted in a globe having "barn doors," which are black metal flaps fastened. These flaps are used to keep light from falling where it's not wanted. Mostly these are used on backlights, which can cause objectionable lens flare if their light falls the camera lens directly.
Scrims Disks:
Scrims are special disks of screen wire that are used to soften lights and it reduce light intensity slightly too. Different full or half scrims can be used to produce variables soften effects in the scene easily. Scrims can also be used in lamps as a protective grid against bulb explodes.
Bulbs:
Tungsten-Halogen bulbs are used for television lamps commonly. These bulbs don’t lose their brightness and correct color temperature throughout their lives.
Fitting Stands:
These are used to fastened fitting of the lighting used in the production.Barn doors are most of time are the parts attach on these stands.
Power Consumption
Television lights use much power during their usage. They range from 25 watts for DC camera lights up to as high as 5000 watts. Lights used for electronic news gathering (ENG) or electronic field production (EFP) normally ranges from 500 to 1000 watts each.
These May be
i. spot lights(with narrow beam it casts well-defined shadow)
ii. broad lights( wider beam and casts a softer shadow)
iii. flood lights (broad illuminated circular pattern with a diffuse shadow)
iv. soft lights (almost it doesn’t cast shadow)
The intensity and beam spread of spots and some other lights may be adjusted by moving the lamp forward or back in the lamp housing. When the beam is narrow and intense the lamp is "spotted down." When the beam is wide and more diffuse the lamp is "flooded out.” All lamps have not this adjustment.
Barn Doors:
Most lamps are fitted in a globe having "barn doors," which are black metal flaps fastened. These flaps are used to keep light from falling where it's not wanted. Mostly these are used on backlights, which can cause objectionable lens flare if their light falls the camera lens directly.
Scrims Disks:
Scrims are special disks of screen wire that are used to soften lights and it reduce light intensity slightly too. Different full or half scrims can be used to produce variables soften effects in the scene easily. Scrims can also be used in lamps as a protective grid against bulb explodes.
Bulbs:
Tungsten-Halogen bulbs are used for television lamps commonly. These bulbs don’t lose their brightness and correct color temperature throughout their lives.
Fitting Stands:
These are used to fastened fitting of the lighting used in the production.Barn doors are most of time are the parts attach on these stands.
Power Consumption
Television lights use much power during their usage. They range from 25 watts for DC camera lights up to as high as 5000 watts. Lights used for electronic news gathering (ENG) or electronic field production (EFP) normally ranges from 500 to 1000 watts each.
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