•
•
•
•
Explain how the color temperature of light affects
the video image.
Recall methods to control lighting intensity.
Identify the steps in the procedure to light a set.
Describe the television lighting techniques
presented and identify the instruments used with
each technique.
Introduction
Professional Terms
3200° Kelvin (3200K)
back light
background light
barndoors
basic hang
bounce lighting
C-clamp
cross-key lighting
diffusion
dimmer
fill light
flag
flood light
floor stand
fluorescent lamp
four-point lighting
Fresnel
gel
grid
hard light
honeycomb
incandescent lamp
instrument
Kelvin color temperature
scale
key light
lamp
light hit
light plot
limbo lighting
raceway
rough hang
scoop
scrim
soft light
spotlight
three-point lighting
triangle lighting
Objectives
After completing this chapter, you will be able to:
•
Identify the various types of lighting instruments
and cite unique characteristics of each.
•
Compare the characteristics of incandescent lamps
with the characteristics of fluorescent lamps.
There are two main functions of lighting for
television production:
•
To meet the technical requirements of the
camera. There should be enough light to produce
an acceptable picture on the screen.
•
To meet the aesthetic requirements of the
director. Sufficient lighting is necessary to create
the desired mood, from an artistic standpoint.
A romantic dinner, for example, should have a
different lighting design than a football game.
Ultimately, the television screen is a flat piece of
glass. Industry professionals try to create the “illusion” of
a three-dimensional image by manipulating many objects
and aspects of a program. To create three-dimensions:
•
Shoot a person in a three-quarter angle, rather
than straight on or in profile.
•
Apply makeup to the talent to create lines of light
and shadow.
•
Paint a production set to create the illusion of
three dimensions.
•
Arrange set elements to create a foreground,
middle ground, and background.
•
Make certain areas more prominent on the screen
through the creative use of light and shadow.
•
Creatively use a shallow depth of field when
shooting.
Special lighting is necessary in television
production because, typically, the lens aperture is
closed significantly to accomplish great depth of field.
Closing the lens aperture requires that the light level
be increased, or a wonderfully focused picture will be
a wonderfully focused dark picture.
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Using Professional Terms
instrument: The device
into which a lamp is
installed to provide
illumination on a set.
It is imperative that consumer terms not be used in a professional studio environment. Using the correct terminology is considered an entrance
exam for broadcasting employees. You risk losing respect and credibility
among industry peers and superiors if you use consumer terms or misuse professional terms in the workplace. The importance of correctly using
industry terms cannot be overstated.
Average consumers call the lighting fixture on the side table in their living room a “lamp” and the part inside that glows a “lightbulb.” Television
production industry professionals do not use these terms. The lighting fixture is called an instrument and the part that glows is a lamp. In the industry, a lamp illuminates a set when installed in a lighting instrument.
lamp: Part of a lighting
instrument that glows
when electricity is
supplied. The consumer
term for this item is
“lightbulb.”
Talk the Talk
When referring to a lighting instrument, just the word “instrument” is
typically used. “This instrument needs a new lamp.” The word “lighting” is
understood and is not actually spoken when industry professionals use
this term. Other terms used to refer to a lighting instrument
are “fixture” or “head.” Sometimes, the name used refers
to the wattage of the lamp, such as “1K,” “2K,” or “baby.” It
is important to learn the naming conventions used in your
workplace when you are a new employee.
•
•
In the television production industry, the word “light” has two definitions:
“Lights” refer to the collection of all the instruments used in
the studio or on location. “Let’s turn the lights on now.” Most
professionals say “instrument” only when referring to a specific
lighting instrument.
“Light” also refers to the illumination created by turning on a lamp.
For example, the lighting engineer may use a light meter to measure
the amount of light hitting or reflecting off an object on the set.
Types of Light
hard light: Type of
illumination used in
a studio that creates
sharp, distinct, and very
dark shadows.
soft light: Type of
illumination used in
a studio that creates
indistinct shadows.
The two types of illumination used on a studio set are defined by the
type of shadows they produce—hard and soft. See Figure 15-1.
Hard light creates a sharp, distinct, and very dark shadow. Hard light
is the type necessary to create shadow puppets against a wall. If a hard light
instrument is hung from the ceiling of a TV studio and pointed straight
down onto an object, a perfectly-shaped shadow is created on the floor
below the object. The line on the floor between areas of light and shadow
is thin and distinct.
Soft light creates indistinct shadows. Pointing a soft light instrument
straight down onto an object creates an indistinct shadow pattern on the
floor. There is no definitive line between areas of light and shadow. The
lighted area gradually fades into shadowed area.
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297
Figure 15-1. Hard light
creates sharp, distinct
shadows. Soft light creates
indistinct shadows.
Hard light
Soft light
Types of Lighting Instruments
Nearly all studio hard lights are a type of spotlight, Figure 15-2.
Spotlights create a circle of light in varying diameters. These instruments
can be fixed to a pipe on the ceiling or wall, placed on a stand, or be very
moveable. Moveable spotlights can be moved by hand or be motorized
and operated by remote control. Moveable spotlights, “spots” for short, are
often used in theatrical presentations when the spotlight follows a person
walking around the stage.
Convertible spotlights have a sliding lever on the body of the instrument, Figure 15-3. These instruments may be referred to as “focusing fixtures” or “focusable fixtures.” The instrument is a hard light in one setting
and converts to a somewhat softer lighting instrument by sliding the lever.
The Fresnel, pronounced “fruh-NEL,” is a hard lighting instrument,
Figure 15-4. It is a lightweight instrument that is easily focused and can
spotlight: Type of hard
light instrument that
creates a circle of light
in varying diameters.
Fresnel: A hard light
instrument that is
lightweight and easily
focused.
298
Figure 15-2. Spotlights
are instruments that create
hard light.
Figure 15-3. A convertible
spotlight is very versatile
because it can create hard
or soft light.
Figure 15-4. A Fresnel is
a lightweight, focusable,
hard lighting instrument.
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Lighting
produce a great deal of light. Fresnel instruments are named for the inventor of the Fresnel lens, Augustin-Jean Fresnel. Because the instrument is
named after a person, “Fresnel” should always be capitalized.
A flood light is a soft lighting instrument that provides general lighting
in a large area. One of the most common flood lights is a scoop, Figure 15-5.
It is a half-spheroid shaped instrument that creates a great deal of light.
Accessories
Some situations may require light to be projected in a specific shape or
be blocked from hitting a particular object on the set. Barndoors are the most
commonly used items to shape and block light, Figure 15-6. Barndoors are fully
moveable metal flaps that attach to the front of an instrument. The operator
moves the barndoors into the beam of light to block or reshape the light.
299
flood light: A soft light
instrument that provides
general lighting in a
large area.
scoop: A common type
of flood light with a halfspheroid shape that
produces a great deal
of light.
barndoors: Fully
moveable black metal
flaps attached to the front
of a lighting instrument;
used to block or reshape
the light.
Figure 15-5. The scoop
lighting instrument is
named for its domed,
or scoop, shape.
(Mole-Richardson Co.,
Hollywood, CA)
Barndoors
Figure 15-6. Barndoors
allow the light to be
shaped, rather than merely
projecting light in a large
circle.
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Safety Note
The entire lighting fixture gets extremely hot when turned
on, including the barndoors. If the instrument is on or has
recently been turned off, wear gloves when handling the
barndoors.
!
Cinefoil™ and Blackwrap™ are two professional products used by
most lighting designers to reshape light. These products are flexible, rolled
sheets of aluminum that can be wrapped around the front of an instrument.
Cinefoil and Blackwrap are flat black in color, so they do not reflect light.
Budget-conscious production environments often use aluminum foil to produce the same effects as Cinefoil, Blackwrap, and barndoors, Figure 15-7.
Use heavy-duty foil instead of regular aluminum foil—heavier foil resists
accidental tears better and can withstand the extreme heat of the instruments for a longer period of time. While aluminum foil works to reshape
light, aluminum foil is shiny and reflects light—sometimes uncontrollably.
Be aware of wayward reflections and correct any lighting problems and
hot spots on the set.
Some very interesting and creative shadow patterns can be created
using inexpensive aluminum foil on instruments. To use aluminum foil to
shape or block light:
1. Tear off a sheet several feet long.
2. Shape the aluminum foil into a cylinder.
3. Attach the cylinder to the front of the instrument with metal paper
clips (not plastic or vinyl coated clips).
4. Turn the lighting instrument on.
5. Shape the foil by hand.
Safety Note
Do not use transparent tape, masking tape, or duct tape to attach foil
to an instrument. The tape may ignite! This poses a serious safety risk
to every person on the set and in the building. Also, if a fire
ignites, water from the sprinkler system will damage every piece
of video equipment, the set, costumes, props, and all other
valuable items in the studio.
light hit: A white spot
or star shaped reflection
of a lighting instrument
or sunlight off of a
highly reflective surface
on the set.
flag: A flexible metal
rod with a flat piece of
metal attached to the
end; used to block light
from hitting certain
objects on the set.
!
Brightly polished objects, like a silver serving tray or brass lamp, may
be among the elements included in a shot. However, highly reflective surfaces create a white spot or star-shaped reflection of a lighting instrument
or sunlight, which can be reflected into the camera lens. This reflection is
called a light hit and is generally considered an undesirable effect. The easiest solution is to remove the reflective object from the set. If this is not an
option, a flag needs to be placed between the lighting instrument and the
reflective object, Figure 15-8. A flag is a metal rod with a flat piece of metal
attached to the end. The metal rod is flexible, about 2′–3′ long, and has a
clip on the end. This rod is attached to the side of a lighting instrument
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301
Lighting
with the excess length extending in front of the instrument. A small, flat
piece of metal cut into a shape is attached to the clip. The lighting designer
bends the rod until the flag is positioned between the light source and the
reflective surface on the set. The flag blocks light from the reflective object,
but the rest of the set remains illuminated by the lighting instrument.
Figure 15-7. Heavy
aluminum foil can be used
to shape the light projected
from an instrument.
Figure 15-8. A flag prevents light hits by blocking light from hitting a particular item on a set. A—Shiny surfaces
on a set reflect light from the lighting instruments used. B—A flag is placed between the lighting instrument and
the reflective surface on the set. (Courtesy of Matthews Studio Equipment) C—With the light blocked from shiny
surfaces, light hits are avoided.
Lighting
instrument
Flag
A
B
C
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Television Production & Broadcast Journalism
Safety Note
Do not use wooden dowels or cardboard to make a flag.
When exposed to the heat of a lighting instrument, these
materials become a fire hazard.
•
•
!
Other ways to remove a light hit include:
Spray the item with dulling spray available from photo supply stores.
The spray can be removed with a damp cloth after the shoot.
Spray the item with inexpensive hair spray. Hair spray is also water
soluble for easy removal.
Fluorescent Lamps
incandescent lamp:
Type of lamp that
functions when
electricity is applied and
makes a filament inside
the lamp glow brightly.
fluorescent lamp: Type
of lamp that functions
when electricity excites
a gas in the lamp, which
causes the material
coating the inside of the
lamp to glow (fluoresce)
with a soft, even light.
Figure 15-9. Fluorescent
instruments can hold
multiple lamps and can be
hung from a grid or placed
on lighting stands.
(Photo courtesy of LowelLight Mfg., Inc.)
The types of instruments discussed to this point in the chapter use
incandescent lamps. Incandescent lamps contain a filament inside the
lamp that glows brightly when electricity is applied. Incandescent lamps
used in television production are usually tungsten, tungsten halogen, or
quartz halogen.
A fluorescent lamp functions when electricity excites a gas in the lamp,
which causes the material coating the inside of the lamp to glow (fluoresce)
with a soft, even light. Older fluorescent lamps were unsuitable for use in
television production environments due to the bluish or greenish color temperature of the lamps. Professional television lighting fluorescent lamps are
available in various shapes, sizes, and color temperatures, Figure 15-9. The
most important color temperature in the television industry is 3200° Kelvin.
Color temperatures are discussed in detail later in this chapter.
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303
Fluorescent instruments and lamps have several advantages over
incandescent varieties.
• Fluorescent lamps cost less to purchase, cost less to replace, and
provide tremendous energy savings.
• Fluorescent lamps typically produce three to four times more light
per watt, compared to tungsten halogen sources.
• Fluorescent lamps produce only a fraction of the heat generated
by incandescent lights. With less heat produced by lights, the air
conditioning system does not have to work as hard to keep the studio
at a cool, comfortable temperature.
• Fluorescent lamps are longer-lasting than incandescent lamps.
While lamp life is usually rated by the manufacturer between 8,000
and 10,000 hours, lamps gradually darken with age, reducing their
efficiency, and should be inspected periodically.
• Fluorescent lamps can be touched with a bare hand while turned on.
The lamp is warm, but not warm enough to cause any discomfort.
To the human eye, a fluorescent lamp appears considerably less bright
than an incandescent lamp. While the illumination is less bright, the images
created under fluorescent instruments appear beautifully on video. This is
because professional video fluorescent lamps provide the exact frequency
of light required by the camera. An incandescent lamp spreads a wide
frequency of light, most of which the camera does not need. Also, since
fluorescent lamps are not as bright as incandescent lamps, talent is less
likely to squint at the camera due to bright lights on the set. Incandescent
instruments are still needed on a set, but using fluorescent instruments
can reduce the number of incandescent instruments needed and, therefore,
reduce the cost of operation.
Supports for Lighting Instruments
Lighting instruments may be attached to floor stands in the studio. A
floor stand has three or four legs and a long vertical pole to which a lighting instrument is clamped. Studio floor stands often have wheels on the
legs for ease of movement. Even though floor stands are convenient, they
have several disadvantages (Figure 15-10):
• They are top-heavy when an instrument is attached to the top of the
pole and may be tipped over easily.
• The power cord for the instrument lies on the floor of the shooting
area and is a tripping hazard. To be safe, the power cords should be
taped to the floor.
• They occupy valuable floor space.
• Studio personnel can accidentally cast a shadow on the entire set by
walking in front of a floor stand and instrument.
On a remote shoot, however, floor stands are a necessity. The crew
should be aware of where the floor stands are positioned and be cautious
around them. Some smaller, portable lighting systems come with large
spring-loaded clamps. The clamps allow instruments to be attached to a
flat, steady object, like the edge of a bookcase, door, or table, Figure 15-11.
In the studio, the best mounting option for lighting is to use a grid,
Figure 15-12. Most studios have a grid hanging about twelve inches below
floor stand: A lighting
support with three or
four legs and a long
vertical pole to which
a lighting instrument is
attached.
grid: A pipe system that
hangs from the studio
ceiling and supports the
lighting instruments.
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Television Production & Broadcast Journalism
Figure 15-10. A floor
stand can support small
lighting instruments,
but there are several
precautions the crew must
observe.
Attached instruments
can make a floor stand
top-heavy.
Staff walking past a
floor stand can cast a
shadow on the set.
Power cords should
be taped to the floor.
Figure 15-11. This
large clamp allows an
instrument to be attached
to a sturdy shelf, door,
or table.
Chapter 15
Lighting
Figure 15 12. A grid is the
pipe system that hangs from
the ceiling and supports the
instruments. The raceway
supplies electricity for the
instruments.
Grid
Raceway
305
the ceiling. The grid is made of pipe that is at least two inches in diameter.
Lighting instruments attach to the grid using a C-clamp, Figure 15-13, which
is built into the instrument. The bottom of the “C” attaches to the instrument and the top hooks onto the pipe. A large threaded screw is tightened
to firmly press against the pipe and secure the instrument safely to the grid.
C-clamp: A clamp in
the shape of a “C” that
is used to attach lighting
instruments to the grid.
Safety Note
Any instrument hanging on the grid should have an additional safety
chain attached. The chain should loop around part of the instrument and
around the grid pipe. If the C-clamp comes loose, the safety chain prevents
the instrument from falling to the ground and possibly injuring someone
standing beneath it. Since barndoors can be removed if desired,
some barndoors also accommodate a safety chain to prevent
them from accidentally falling off an instrument.
!
Figure 15-13. A—C-clamps
are used to attach lighting
instruments to the grid.
B—This fluorescent
instrument is hung from a
grid by a C-clamp and can
be swiveled in any direction.
(Photo courtesy of LowelLight Mfg., Inc.)
B
A
306
raceway: The system
of electrical cables and
outlets used to power
lighting instruments on
the grid. The raceway
either hangs beside the
grid pipes or is mounted
to the ceiling above the
grid.
Television Production & Broadcast Journalism
The raceway either hangs beside the grid pipes or attaches to the
ceiling above the grid, Figure 15-12. The electrical cables and outlets that
power the instruments on the grid are part of the raceway. Each of the
many outlets on the raceway is numbered and corresponds to a dimmer
or switch on the lighting board. The lighting instruments are plugged into
the outlets and are powered selectively from the lighting board. This eliminates the need to climb ladders to turn the instruments on and off. The
electrical wiring is not placed within the grid piping due to the possibility of puncturing or crushing the pipe while tightening a C-clamp. If a
C-clamp is overtightened and punctures a grid pipe, the electrical current
that might be running inside the wiring would pose a great danger to the
lighting director or gaffer on the ladder.
Safety Note
Placement of instruments on a grid must be carefully considered in
studios with a ceiling-mounted sprinkler system. Instruments that get very
hot cannot be positioned near sprinkler heads. Heat from the
instrument can melt the sensor in a sprinkler head, which will
activate the entire sprinkler system. This would be a real danger
for studio personnel and a disaster for all the electronic gear.
!
Colors of Light
Colors reflect different frequencies of light. A frequency is measurable
and can, therefore, be graphed. In 1848, the scientist Lord Kelvin devised
a system to quantify and measure color. At that time, a black carbon rod
was considered the blackest item available. Using the concept that black is
the absence of color, Lord Kelvin applied heat to the black rod. Each time
his eye could discern a color change, he noted the color and measured the
amount of heat applied to produce that color, Figure 15-14. Based on the
Figure 15-14. Approximate
values of the Kelvin Color
Temperature Scale.
Temperature
Color
2000K
Red
2500K
Yellow
3000K
Pale Yellow
3200K
White
4000K
Green
4500K
Greenish Blue
5000K
Blue
6500K
Cobalt Blue
7000K
Violet
10,000K
Black
Chapter 15
Lighting
data collected, Lord Kelvin created a scale for measuring colors known as
the Kelvin Color Temperature Scale. The Kelvin Color Temperature Scale
measures color temperatures in degrees Kelvin.
Modern technology allows us to use combinations of materials, such
as tungsten, quartz, and halogen gas, to produce light of the same color
temperature without applying the extreme levels of heat Lord Kelvin used.
However, some instruments that use lamps made of these materials still
get incredibly hot and will immediately burn the skin if touched after
being on for as little as 15 seconds. As mentioned earlier, the fluorescent
lamps used for television lighting do not produce a great amount of heat
while operating.
307
Kelvin Color
Temperature Scale:
A scale developed by
the scientist Lord Kelvin
for measuring color
temperatures of light in
degrees Kelvin.
Production Note
The colors of light are not similar to the colors of paint. The
principles that apply to each are different. With light, the color
white is created when all the colors of light are combined. Black
is the absence of all colors. A television screen is black until it
is turned on. The screen becomes bright white, even though
the lights creating the image are red, green, and blue.
White Light
The most important result of Lord Kelvin’s research to television production is that 3200° Kelvin (3200K) equals white light. In order to reproduce colors and flesh tones properly on television, the light hitting an
object must be white.
Talk the Talk
When temperature is written in degrees Kelvin, the word
“Kelvin” is replaced with an upper case “K,” such as 4500K.
When this same temperature is spoken aloud, the
last two zeroes of the temperature reading and the word
“degrees” are omitted, as in “45K.”
Most home videos taken indoors have a yellow hue to them,
Figure 15-15A. This is because the lamps inside the instruments in most
homes are considerably cooler than 3200K and produce light that is less
than white. The Kelvin temperature of most incandescent lightbulbs for
home use is about 2000K. On the other hand, video taken under regular
fluorescent ceiling lights has a greenish hue, Figure 15-15B. The fluorescent lights used in classrooms and professional buildings are considerably
warmer than 3200K. These lights are between 4000K and 4500K. Light in
that temperature range is blue greenish and produces a gray, unhealthy
look on natural flesh tones. Video shot outside under sunlight appears to
be tinted with a shade of blue, Figure 15-15C. Sunlight is 5000K and up,
which produces various shades of blue.
3200° Kelvin: The
temperature of white
light in degrees Kelvin.
Also noted as 3200K or
“32K” when spoken.
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Television Production & Broadcast Journalism
Figure 15-15. A—Color temperatures below 3200K cause the yellowish tone of pictures taken in consumer
house lighting. B—A standard fluorescent light creates a blue-greenish tint due to a color temperature in the
4000K–4500K range. C—The camera sees sunlight in a bluish tint.
B
A
C
Visualize This
Think of the Bunsen burner used in science classes. The
hottest part of the flame is blue in color and the coolest part of
the flame is yellow in color. This corresponds to the colors of light.
Light sources warmer than 3200K create images with a blue tint.
Light sources cooler than 3200K create images with a yellow tint.
Production Note
In art classes, reds and yellows are referred to as “warm” colors and
blues and greens are referred to as “cool” colors. The terms “warm” and
“cool” in art class refer to the emotional feeling attributed to a particular
color. Using the Kelvin Color Temperature Scale, however,
warm and cool colors are opposite from those in art class.
To create an “emotionally” warm color with lighting, we have
to reduce the temperature (make it cooler) of a 32K light.
To create an “emotionally” cool color, like blue, we have to
increase the temperature (make it warmer) of a 32K light.
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Objects on television appear as their actual color only when pure
white light, 3200K, is used. Most television lamps are rated at 3200K. This
temperature rating refers to the color of light emitted by the lamp, not the
brightness of the light emitted. Brightness is indicated by the wattage of
the lamp. A 1000-watt, 3200K lamp is much brighter than a 300-watt 3200K
lamp. However, both produce the same white light.
To get the necessary 3200K white light at home or when shooting outside, two options are available:
• Bring enough lighting instruments to flood the shooting area with
white light and overcome the natural light of the area.
• Trick the camera into thinking it is getting white light, even though it
is not.
To “trick” the camera, activate the white balance circuit while the camera is pointed at a white object on the set that is under the lighting you are
balancing for, such as sunlight, incandescent light, or studio lights. The
camera is forced to see the object as white, without regard to the type of
light hitting it. The camera then sees all other colors correctly because it has
been balanced to one color—white. Other colors then fall into place on the
scale. For example, assume that the color orange is two shades up (warmer)
from red and two shades down (cooler) from yellow on the Kelvin scale.
Each color is identified by its relationship to adjoining colors. Accurately
identifying one of the colors places all the other colors into their proper
position because the one color specified is used as a reference point.
Interesting effects can be produced by intentionally throwing off a
camera’s white balance circuit. For example, point a camera at a red object
and white balance on it. The camera tries to turn anything red in color
into white. In the process, every other color of the spectrum shifts, as well.
This effect can only be achieved when the camera is in “manual” white
balance mode. If the camera is in “automatic” white balance mode, the
camera operator cannot control the circuit in any way. The automatic white
balance circuit can be disabled on some high-end consumer cameras and
all professional cameras.
Colored Light
Some programs or specific scenes require colored lights to be used on
the set. For example, a rock concert typically has many different colored
lights on the set. For a nightclub scene in a dramatic production, the audience expects to see various mood-enhancing colored lighting instruments.
To turn the white light from a lamp into a colored light, a heat-resistant
plastic sheet called a gel is used. Gels can be purchased from theatrical
lighting stores and are available in hundreds of shades and colors. The
plastic material is cut into a small rectangle that fits into a special gel holder
on the front of a lighting instrument, Figure 15-16. The white light passes
through and becomes the color of the gel.
Because colored lighting instruments are often used to create a specific
mood or effect, it is important that the audience is able to see the colored
lighting on the screen. In order for the audience to properly perceive the
colored lights, the camera should be white balanced with the colored lights
turned off and only white lighting instruments turned on. When the colored lights come on, the camera sees each color. White balancing on an
gel: A heat resistant,
thick sheet of plastic
placed in front of a
lighting instrument to
turn white light from a
lamp into a colored light.
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Television Production & Broadcast Journalism
Figure 15-16. A gel can
change the color of the
white light emitted from an
instrument.
object that is under a colored light throws off the camera’s color reproduction circuits.
A production location may have a window or glass door to the outside.
If the program is shot during daylight hours, blue sunlight will stream into
the room while shooting. One solution is to place a CTO (color temperature
orange) gel on the inside of the window. The CTO gel converts sunlight
coming in the window from 56K to 32K. Another solution is to convert all
the lighting instruments at the location to sunlight using CTB (color temperature blue) gels. CTB gels convert the 32K of the lighting instruments
to 56K. When all the light at the location is the same color temperature,
perform a white balance and the recorded image will appear correctly lit.
Lighting Intensity
Once lighting instruments have been set up, either on a set or on location, controlling the intensity of the light becomes an important task. For
example, if a person or object is too brightly lit in a shot, they may appear
to glow. Depending on the time of day, natural sunlight may cast dark
shadows on the talent’s eyes, nose, and chin. If the lighting instruments are
the convertible type, the easiest solution is to move the lever from “spot” to
“flood” or “flood” to “spot.” If the lighting intensity issue is not resolved,
several other techniques are effective in reducing the amount of light that
hits an object on the set.
Move the Instrument
Moving lighting instruments farther away from or closer to the set is a
simple solution to control the intensity of light. Move a lighting instrument
farther away from the set to reduce the amount of light hitting objects on
the set and decrease lighting intensity. To increase the lighting intensity,
move the instrument closer to the set.
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311
Replace the Lamp
Replacing the lamp with one of lower wattage decreases the intensity
of the light. For example, remove a 1000-watt lamp from an instrument
and replace it with a 400-watt lamp. Make certain the new lamp is rated at
3200K. A lower-wattage light rated at 3200K will provide the same color of
light, but less light overall.
Use Diffusion or a Scrim
Diffusion material is placed on the front of a lighting instrument to soften
the light and reduce lighting intensity, without reducing the color temperature. When placed in front of a lighting instrument, diffusion material appears
translucent, Figure 15-17. These devices are most commonly attached using a
gel holder, but metal paper clips may also be used.
diffusion: A translucent
material that is placed
in front of a lighting
instrument to soften and
reduce the intensity of
light, without altering the
color temperature.
Production Note
A piece of spun fiberglass cloth may be used as diffusion material. The
fiberglass material may be found at an auto parts store, as it is commonly
used to repair fiberglass car bodies. Fiberglass cloth cannot
be placed in a gel holder, however. Heat from the lamp is too
intense for the fiberglass and can darken or melt the material.
Fiberglass cloth should only be used with lamps that are less
than 1000 watts. Clip the fiberglass cloth to the front of the
barndoors with metal paper clips.
A scrim is a device used to reduce the intensity of light, Figure 15-18.
Scrims are made of wire mesh or black woven, heat resistant-material and
may be purchased from a theatrical supply house. Metal window screening (not nylon) may be used as an economical scrim and is available at
scrim: A wire mesh or
woven material placed
in front of an instrument
to reduce the intensity
of light.
Figure 15-17. Diffusion
material reduces and
softens the light coming
from an instrument.
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Television Production & Broadcast Journalism
Figure 15-18. A wire
mesh scrim is mounted
in a frame that snaps into
the front of an instrument.
(Photo courtesy of LowelLight Mfg., Inc.)
hardware stores. Metal window screening may be cut to size and inserted
into a gel holder.
Use Bounce Lighting
bounce lighting: A
lighting technique where
a lighting instrument is
not pointed directly at
the subject of the shot,
but the light is bounced
off of another object,
such as a ceiling, wall,
or the ground.
Bounce lighting is produced when an instrument is pointed at a photographic reflector, the ceiling, a wall, or the ground instead of directly at
the subject of a shot, Figure 15-19. Two things occur when light is bounced
off another object:
• The light takes on the color of the object it was bounced off. Always
bounce light off a white or light gray object.
• The light’s intensity is reduced.
One technique is to bounce light off a highly reflective surface, such
as a mirror. This increases the distance between the light source and the
object, which reduces the light level.
A white tablecloth or bed sheet placed on the ground at the talent’s
feet reflects light back at the face from below. The reflected light fills in
dark shadows created by the sunlight. In addition to their use for bounce
lighting, white tablecloths and bed sheets are handy sources for white balancing a camera.
Other common tools used for bounce lighting are vehicle sunshields
and aluminum foil. Many people place a folding vehicle sunshield inside
the windshield to reduce the effects of direct sunlight and heat when a car
is parked. The reflective side of a sunshield is an effective bounce lighting
tool. A reflector may also be made using regular kitchen aluminum foil.
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Lighting
Figure 15-19. A white surface can bounce light to help fill in a dark shadowed area of the subject.
Key light only
Bounce lighting
Final image
Crumple up the foil, flatten it out into a rough rectangle, and tape the foil
to a piece of cardboard. If it is not crumpled first, the foil will be too reflective, like a mirror. The wrinkled foil creates a more subtle reflective surface.
Bouncing light off a mirror or other highly reflective surface is a technique that may compensate for insufficient lighting in certain areas on a
set. For example, if it is not possible to place a lighting instrument in a particular spot, hang a mirror in that spot and position it to add illumination
to the area needed.
Production Note
Mirrors can be used with cameras, as well. If there is not enough room
to position a camera in a tight space, a mirror can be placed
where the camera needs to be. The mirror reflects the image
you want to record and the camera shoots into the mirror.
When using a mirror in this way, do not include any items in the
shot that contain writing; letters are reversed when reflected in
a mirror.
Use a Dimmer
A dimmer is attached to the power control of a lighting instrument and
can reduce or increase the amount of electricity flowing through the instrument. Dimming an incandescent instrument is the least desirable solution.
A lamp glows because the electricity flowing through it heats the filament.
In television production, that filament glows white. Using a dimmer to
reduce the amount of electricity flowing through the lamp causes the light
to dim and cool. When a lamp cools, it progressively takes on a reddish
tint. The reddish tint becomes perceptible to the camera if an incandescent
instrument is dimmed more than 10%. This is why many television studios
do not use the dimmer function on the lighting board. Instead, the instruments are simply turned on or off. Fluorescent lamps may be dimmed with
no negative effects.
dimmer: A device
attached to the power
control of a lighting
instrument that
regulates the amount of
electricity that flows to
the lamp.
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Preserving the Life of
Incandescent Lamps
Exercise extreme care to ensure that incandescent lamps last as long as
possible to avoid costly replacement. Incandescent lamps operate at very
high temperatures because their glow is created by a white hot metal filament. The high operating temperatures of these lamps require that some
basic precautions be taken for use and handling.
Never turn incandescent lamps on and off in rapid succession. Regular
studio lamps burn out in a very short time if they are flashed on and off. To
achieve a strobe light effect, use a strobe light.
Do not move incandescent instruments while the lamp is hot, whether
turned on or recently turned off. The filament in an incandescent lamp is
very fragile when hot—any jarring movements can cause it to break. If the
filament breaks, the lamp must be replaced.
The barndoors should never be completely closed with the lamp
turned on. The lack of ventilation and build-up of heat can cause the lamp
to burn out prematurely.
Some instruments may be swiveled in any direction, including upside
down. With instruments of this type, ensure that the heat of the lamp is not
directed at the base of the instrument, so the heat does not go into the base.
Consult the manufacturer’s material for information and cautions about
this issue.
An incandescent lamp should never be handled with bare hands or
fingers. Handle the lamp using the foam it is packed in, a paper towel, or
tissue paper, Figure 15-20. No matter how clean, there is always a certain
amount of oil on the skin that is transferred to the surface of the lamp.
When the lamp is turned on and reaches high operating temperatures, the
oil boils to the point of evaporation. This creates a cooler spot on the hot
glass surface of the lamp, which may cause the hot glass to shatter. Many
instruments have a special groove in front of the lamp to accommodate a
wire safety mesh that will trap glass fragments in case the lamp shatters. If
a lamp is accidentally touched, it should be wiped clean with alcohol and
a soft cloth before being turned on.
Figure 15-20. Oils on the
skin will ruin a lamp. Never
touch a good lamp with
your bare fingers.
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Lighting
Planning the Set Lighting
Before the set is built, the lighting designer meets with the set designer
and program director. In this meeting, the director describes what the set
looks like, provides a set diagram, and explains the movement of the talent
on the set. The director may also express specific lighting preferences.
During set construction, the lighting designer (LD) studies the set diagram and determines the placement and aiming of lighting instruments.
When the lighting decisions are final, the LD develops a diagram for instrument placement, or light plot (Figure 15-21).
After the set is built and dressed, the LD lights the set. Instruments are
hung over the set according to the light plot and plugged into the raceway.
light plot: A diagram
developed by the
lighting designer that
indicates the placement
of lighting instruments
on the set of a program.
Figure 15-21. A light plot indicates the placement, color, and aiming of the lighting instruments.
B
B
Window
Hallway
Bookshelves
Chair
Chair
Door
Coffee table
B
B
B
Window
Table and
chairs
Table
Counters and
kitchen appliances
B
Couch
Camera 1
Camera 3
Camera 2
Key:
–750w flood
B–Blue gel
–1500w flood
–250w spot
–500w spot
316
basic hang: The initial
process of hanging
instruments over the set
according to the light
plot and plugging them
into the raceway. Also
called a rough hang.
Television Production & Broadcast Journalism
This is called the rough hang, or basic hang. The goal of a rough hang is to
place instruments in the general location they need to be for the production. After the rough hang is complete, the LD notifies the crew and turns
out all the lights in the studio. The set must be completely dark so the LD
can evaluate the placement and see the effect of the moving each instrument. To light the set, the LD and crew follow a general procedure:
1. The LD turns on one instrument.
2. The LD or a gaffer puts on heavy work gloves, climbs a ladder, and
manually aims and focuses the instrument on a specific area of the
set. Move the instruments very gently when hot. If jarred sharply, the
incandescent lamp may burn out.
Safety Note
Always wear protective gloves when adjusting a lighting instrument
that is turned on to prevent fingers from being burned, Figure 15-22.
Do not use gloves with rubberized palms or finger grips. The
rubber will soften or melt when in contact with a hot instrument.
Inexpensive work gloves with leather palms and finger tips are a
good option.
!
Figure 15-22. Always
wear protective gloves
when handling hot
instruments.
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317
3. Once aimed, the instrument is turned off.
4. The next instrument is turned on and adjusted. The steps are
repeated for each instrument on the set.
5. When the entire light plot has been aimed and precisely focused, all the
instruments are turned on at once and any final adjustments are made.
Production Note
Some lighting designers prefer to light the set with general illumination
using mostly floodlights, turn off all the general lighting, and
then position spot lighting in the specific areas that talent will
be moving or standing. General lighting is then turned back on
and final adjustments can be made. Other lighting designers
prefer to start with areas specific to the talent and then set up
the general lighting. Both techniques work well.
Techniques of Television Lighting
Each of the following basic lighting techniques may be used in production studios of any size. Properly using each technique is crucial to creating
quality shots for a program.
Three-Point Lighting
Three-point lighting, sometimes called triangle lighting, is the most
commonly used photographic lighting technique in television production.
Three-point lighting is designed to both make a person look attractive and
create the appearance of three-dimensionality on the flat, two-dimensional
television screen. Three-point lighting uses three instruments for each person/object being photographed:
• key light
• fill light
• back light
Each of the three instruments performs a specific function, Figure 15-23.
three-point lighting:
A common lighting
technique that
uses three lighting
instruments for each
person or object
photographed: a key
light, a fill light, and a
back light. Also called
triangle lighting.
Key Light
The key light provides the main source of illumination on an object,
Figure 15-24. It is usually in front of and above the object, and on an angle
to the left or right. A key light is never placed directly above or directly in
front of an object. Imagine the face of a clock. The subject of the shot stands
in the center of the clock and the key light is located at either four-thirty or
five o’clock on the right side of the stage or at seven o’clock or seven-thirty
on the left side.
When placing the key light, location of the primary light source must
be considered. If lighting a living room for a scene that is supposed to take
place at noon, the primary source of light would probably be the windows
of the room. If the window is on the talent’s right side, the key light is
placed on the talent’s right side to augment the sunlight coming in from
the window.
key light: The lighting
instrument that provides
the main source of
illumination on the
person or object in a
shot.
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Figure 15-23. This
illustration presents the
general placement of
instruments in a threepoint lighting setup.
12 Back light
9
3
6
Key light
Key light
Figure 15-24. The key light is a hard light that supplies the primary source of illumination on an object. The fill
light somewhat reduces the harsh shadows created by the key light. The back light illuminates the top of the
head and shoulders. The proper use and placement of each of the three instruments produces a well-lit, threedimensional subject.
Key light
Fill light
Back light
Three-point lighting
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Lighting
A key light is a hard light—it produces sharp shadows. If a person is lit
only with a key light, the side of their face opposite the key light will have
heavy nose and chin shadows and their eye will be completely shadowed.
Fill Light
The fill light is placed opposite the key light and above the talent to
light the other side of the talent’s face, Figure 15-24. If the key light is positioned at five o’clock, for example, the fill light is placed at seven o’clock.
The fill light is a softer light that is lower in intensity and reduces the dark
shadows created by the key light to a certain extent. If the fill light completely eliminated the shadows created by the key light, it would be a second key light and would create a flat image on the television screen. The fill
light must be lower intensity than the key light to leave some shadows that
create a three-dimensional appearance. Notice the difference in brightness
between the key light and fill light in Figure 15-24.
fill light: A lighting
instrument that is
placed opposite the
key light and above
the talent to provide
illumination on the other
side of the talent’s face
or object in the shot.
Back Light
The back light is placed above and behind the talent at the twelve
o’clock position, Figure 15-24. It must be positioned fairly high so that none
of the cameras on the set shoot directly into the instrument. The purpose
of the back light is to provide some illumination on top of the talent’s head
and shoulders. It also serves to separate the talent from the background.
Inexperienced lighting personnel often confuse a back light with a
background light. However, these instruments pointed in opposite directions on a set. A background light is pointed at the background of the set,
but a back light is pointed at the back of the talent.
When using three-point lighting, there is a three-point lighting setup
for every member of the cast, at every spot on the set they move or remain
stationary. This is why there are so many lighting instruments on the lighting grid of a television studio.
back light: A lighting
instrument that is
placed above and
behind the talent or
object in a shot, at the
twelve o’clock position,
to separate the talent
or object from the
background.
background light:
A lighting instrument
that is pointed at the
background of a set.
Assistant Activity
The areas on a set where talent or important objects will be
positioned for a period of time are lit using three-point lighting.
Look back to Figure 15-21. Locate the instruments configured
for three-point lighting and determine where talent or important
objects will be most consistently positioned on the set.
Four-Point Lighting
Four-point lighting includes four instruments (two key lights and two fill
lights) that are placed in a square around the talent, Figure 15-25. The two key
lights are positioned diagonally opposite each other, and the two fill lights are
placed in the remaining two corners. In four-point lighting, the camera can arc
all the way around an object and the lighting levels remain sufficient.
An advantage of four-point lighting is that it is easy to set up, somewhat easier than three-point lighting. However, this technique requires
more instruments, electricity, and lamps, which results in increased cost.
four-point lighting:
A lighting technique
that uses four lighting
instruments for each
person or object
photographed: two key
lights and two fill lights.
The two key lights are
positioned diagonally
opposite each other,
and the two fill lights are
placed in the remaining
two corners.
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Television Production & Broadcast Journalism
Figure 15-25. Four-point
lighting is easier to set up
than three-point lighting,
but requires an additional
instrument.
Key light
12
Fill light
9
3
6
Fill light
Key light
Cross-Key Lighting
cross-key lighting: A
lighting technique that
covers more than one
person or object in the
lighting spread using
only two key lights and
one back light.
Cross-key lighting can cover more than one person or object in the lighting spread using only two key lights and one back light, Figure 15-26. As an
example, picture two people sitting in chairs on the set. Both chairs are angled
slightly toward each other, but both are generally facing six o’clock. In crosskey lighting, a key light is placed at four o’clock and another is placed at eight
o’clock. A back light is positioned at twelve o’clock. Two back lights may be
Figure 15-26. In crosskey lighting, Key light 1
provides key lighting for
person A and the fill light
for person B. Key light 2
provides key lighting for
person B and the fill light
for person A.
Back light
12
9
3
6
Key light
1
Key light
2
Person A
Person B
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321
used in some cases. The cross-key technique works because the key lights
hit both characters, but are not at the same distance from each character. The
amount of light that hits the nearest talent is brighter than light from the same
instrument that hits the talent farther away. The key light nearest the talent on
the right is the fill light for the talent on the left. The key light for the talent
on the left becomes the fill for the talent on the right.
A few more instruments may be necessary when using cross-key lighting, but the final number of instruments is significantly lower than using
multiple three-point lighting setups. Cross-key lighting reduces energy
costs, as well as the heat produced by the instruments.
Lighting with Fluorescents
The principles of studio lighting with fluorescent fixtures are the same
as lighting with conventional fixtures—revealing shape, form, and texture
to create an interesting three-dimensional image. See Figure 15-27. Studio
fluorescents are soft lights. When used properly, soft light is pleasing on
Background lights
Back lights
Key and fill lights
Studio camera
Figure 15-27. Placement
of fluorescent instruments
on a news set.
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Television Production & Broadcast Journalism
Figure 15-28. A
honeycomb is placed
in front of a fluorescent
instrument. The hundreds of
small holes act as miniature
barndoors and make the
soft fluorescent light much
more directional. (Photo
courtesy of Lowel-Light
Mfg., Inc.)
honeycomb: A
device that attaches to
fluorescent instruments
to reduce the shape and
size of the light beam,
making the light more
directional and easier to
control.
people’s faces and easier on the eyes than hard edge spotlights. If used
incorrectly, however, soft light can produce a flat, uninteresting image.
The placement of fluorescent instruments is identical to the three-point
lighting technique previously discussed for incandescent instruments.
Lighting starts with a key light. The key is the primary source of illumination
that reveals the shape of the subject. When using a large soft source as a key,
the light scatters all over the studio. To control the “scattered” light, most fluorescent instruments are equipped with a honeycomb that reduces the shape
and size of the light beam (Figure 15-28). A honeycomb does not make the
light much harder, but it makes the light more directional and easier to control.
Talk the Talk
A honeycomb may also be called a grid. The word “grid”
also refers to the support system used to hang lighting
instruments. Use the context of the sentence to determine
the intended meaning of the word.
The second fixture is the fill light, which illuminates the opposite side
of the subject’s face and fills in any objectionable shadows. Often in multicamera setups, a ring of lights is placed in front of the subject to provide a
key light and fill light combination that covers the subject when they turn
in any direction to address various cameras on the set.
The next fixture is a back light, sometimes called a hair light, which is
placed directly behind the subject. A very narrow honeycomb is usually
used with the back light to prevent light from spilling forward and creating lens flare. Back light provides separation from the background and
produces a “glamorous” halo of light.
The final lights to be positioned are directed at the back of the set. A
very simple set uses several fixtures aimed at the back wall to produce an
even wash of light for an indistinct background.
A studio can be adequately lit with fluorescent fixtures alone, however
focusing spotlights may be added for both the talent and areas on the set.
The Camera Light
Many consumer and news cameras are equipped with a built-in light.
When a reporter is doing a location shot, it may seem logical to use the
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on-camera light for additional lighting, as needed. If other lighting options
are available, do not use the on-camera light. Because of the light’s proximity to the camera lens, the talent will have a “deer in the headlights” look—
the talent’s eyes will appear overly large and their face will appear very
flat. In general, using the camera light by itself produces an unattractive
image of a person.
An acceptable image may be created using the on-camera light if an
additional light can be added on one side of the camera. For example, a
hand-held sun-gun light can be pointed at the talent from a distance of
about four feet on the left or right side of the camera. Car headlights can
also be used as a side light, if necessary.
Production Note
You have, undoubtedly, seen images on evening news programs in
which one of the cameras on location pans a large crowd of
reporters and news cameras. All the other news cameras in the
background have the camera lights on. In this instance, the oncamera lights from all the news cameras function as additional
side lighting for every other camera at that location!
Contrast Ratio
The two extremes of light are black (the absence of all light) and white
(the presence of all light). Contrast ratio (Chapter 14, Image Display) is the
relationship of the amount of darkness to the amount of lightness in a picture. A television camera and a television set have difficulty reproducing
black and white simultaneously. Therefore, large quantities of these colors
are rarely seen in the same picture.
Some television studios have solid black curtains that surround the
sides of the studio. A completely solid black or white background can be
very useful. If, for example, the talent is staged with a black, white, or any
solid color background, viewers consider the talent to be removed from
reality. A solid-colored background gives no visual clues to where or when
the action is taking place. Lighting with this kind of background is called
limbo lighting. Limbo lighting creates a background that is a solid, indistinct color. For example, many car commercials are shot on a white floor
with an indistinct white background. Also, singers often perform in front
of a solid black background, Figure 15-29. A solid background concentrates
the viewer’s attention on the performance or main object in the shot.
Lighting Check
Always check the lighting setup on a monitor with the contrast, brightness, color, and tint controls set correctly. If the shot does not look good on
the monitor, stop shooting immediately. The cause of the poor image displayed on the monitor must be determined before shooting continues. A
likely culprit of this problem is the monitor itself.
limbo lighting: A
lighting technique in
which the background of
the set is lit to create the
illusion of a solid-color,
indistinct background.
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Television Production & Broadcast Journalism
Figure 15-29. Limbo
lighting is used when the
talent or subject is in front
of a completely indistinct
background.
To ensure that the contrast, brightness, color, and tint controls are set
correctly on the monitor, perform the following:
1. Turn on the color bar generator in the video camera.
2. Verify that the color bars display in the proper order on the monitor.
Color bars are discussed more fully in Chapter 25, Getting Technical.
3. If the color bars are incorrect, adjust the contrast, brightness, color,
and tint on the monitor until the bars display correctly.
4. Turn the color bar generator off and the camera will operate as usual.
5. If the images on the monitor still do not appear properly, the camera
may need adjustment before shooting can continue.
Production Note
To check a monitor’s contrast, brightness, color, and tint settings when
using a camera that is not equipped with a color bar generator, perform the
following:
1. Find a tape that you have watched and know the images have good
color.
2. Place the tape in the camera and play it.
3. Watch the monitor and check the colors.
4. If colors on the monitor are incorrect, adjust the monitor
settings until the colors are displayed correctly.
Do not make any adjustments to the camera’s color controls until you
verify that the monitor has not caused the display problem. If the monitor
is operating correctly, either the video engineer or a camera repair shop
will adjust the color controls on the video camera. This adjustment requires
Chapter 15
Lighting
the use of test instruments and procedures that are not familiar to most
production staff.
Adjusting any of the color controls on a camera to improve the picture
on a monitor that needs adjustment will affect the actual recorded image.
As a result, viewers will need to adjust the contrast, brightness, color, and
tint controls on their own televisions to improve the picture. You probably have never needed to adjust these controls on your television at home
while watching a network television program. This is because all programs
adhere to industry-established standards regarding contrast, brightness,
color, and tint levels. The goal is to shoot a program in the correct lighting situation, so the viewing public can sit back and watch your awardwinning television program.
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Wrapping Up
Unfortunately, many inexperienced television production personnel
consider lighting to be an afterthought. Proper lighting is extremely important.
As part of an assignment, a student produced a commercial for a burglar
alarm system. In the commercial, the burglar climbed into a house at night
and triggered the burglar alarm. When viewing the commercial, it was difficult
to miss the lack of a picture. There was only a black screen with sound. The
student said that he intended the picture to be dark because it took place
at night. He had successfully produced a radio program, but not a television
program. Audiences accept a slightly darker scene as “night,” especially when
shot with a dark blue filter on the camera. But, a completely black screen is
not an acceptable depiction of “night.” If viewers are unable to clearly see
what the camera is shooting, they change the channel and the program’s
effort to communicate fails.
Review Questions
Please answer the following questions on a separate sheet of paper. Do not
write in this book.
1. What is the difference between hard light and soft light?
2. Name the types of lighting instruments commonly used on a production
studio set.
3. What items can be used to redirect or change the shape of light?
4. What are the advantages of using fluorescent lamps instead of incandescent lamps?
5. How is power supplied to the lighting instruments that hang from the studio ceiling?
6. How do different frequencies (colors) of light affect a recorded video image?
7. Describe three methods used to reduce the intensity of production
lighting.
8. What are two effects of bounce lighting?
9. What precautions should be taken to preserve the life of incandescent
lamps?
10. List the steps involved in lighting a set.
11. Identify the instruments used in three-point lighting and explain the function of each.
12. What is cross-key lighting?
13. How is a honeycomb used with fluorescent instruments?
14. What is limbo lighting?
Activities
1. Look around your home and identify the light created by the following
instruments as either hard light or soft light:
•
The tabletop lighting instruments in your living room.
•
The instrument that illuminates your desk.
The lighting fixture in your bathroom.
•
The lighting instrument over your kitchen table.
•
The lighting instrument over the stove in your kitchen.
•
The instrument that generally lights your bedroom.
2. Research the experiments and discoveries of Lord Kelvin. Choose one
of his accomplishments (other than the Kelvin Color Temperature
Scale) and write a report on it. Be prepared to present this information in class
nc
e
•
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STEM and Academic Activities
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En
2. What is the frequency of a color? What is the unit of measurement used
to indicate color frequency?
3. To convert Kelvin values to degrees Celsius, subtract 273.15 from the
Kelvin value or °C = K – 273.15. Using this formula, convert the following
Kelvin values to Celsius:
A. 2000K
B. 3200K
C. 4300K
4. To convert degrees Celsius to degrees Fahrenheit, multiply the Celsius
value by 1.8 and add 32 to the product or °F = (°C × 1.8) + 32. Using this
formula, convert the Celsius values calculated in the previous activity to
Fahrenheit.
5. Create a set diagram for one of your productions or a production you
have been involved with. Include all the fixed elements on the set. Write
an explanation of the program, the program’s message, and the movement of talent on the set to be used by a lighting designer.
em
at
ic
at
h
ne
er
in
g
M
1. Identify the gas (or gases) used in fluorescent lights. How does the gas
inside a light create illumination?
s
gi
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www.rtnda.org Website of the Radio Television Digital News Association and
Foundation. The RTDNA (association) sets standards for and provides programs
that encourage excellence in electronic journalism. The RTDNF (foundation)
offers development opportunities and educational resources for journalism
professionals and educators.