TV Lighting Operations

INTRODUCTION ACKNOWLEDGEMENTS THE TV CAMERA INTERPRETS = 10 Translating colour The camera tube's limitations The brain makes allowances WHY USE SPECIAL LIGHTING? = 12 Available light Lighting to control technical quality Artistic control Lighting approaches THE AIMS OF LIGHTING = 14 Visibility Clarity Pictorial defects Decorative lighting THE CHARACTER OF LIGHT = 16 The fundamental aspects The influence of light THE COLOUR QUALITY OF LIGHT = 18 Appropriate colour quality Correcting the light TYPICAL LIGHT SOURCES = 20 Fluorescent lighting Tungsten lamps Tungsten-halogen lamps／quartz lights Internal reflector／sealed beam／PAR lights Overrun lamps Metal halide lamps TYPES OF LIGHT FITTING = 22 Soft-light sources Hard-light sources Projection spotlights (profile spots) HOW MUCH LIGHT IS REQUIRED? = 24 Lens aperture Lighting intensities IS MUCH EQUIPMENT NEEDED? = 26 Simplicity or elaboration? Practical considerations HOW ARE LAMPS SUPPORTED? = 28 Slung lamps Stand lamps Clamped lamps Provisional supports A CLOSER LOOK AT HARD LIGHT = 30 The merits of hard light The disadvantages of hard light Conclusions A CLOSER LOOK AT SOFT LIGHT = 32 The merits of soft light The disadvantages of soft light Conclusions THE EFFECT OF LIGHT DIRECTION = 34 Frontal light Side light (edge light) Backlight WHERE DO WE PLACE THE LAMPS? = 36 Three-point lighting Designating direction POSITIONING THE KEY LIGHT = 38 Choosing the optimum position POSITIONING THE FILL-LIGHT = 40 The character of fill-light Locating the fill-light POSITIONING THE BACKLIGHT = 42 Single backlight Dual backlights Practical advice HOW DO WE ADJUST BRIGHTNESS? = 44 By adjusting power By adjusting distance By adjusting spotlight focusing By diffuser over the lamp By electrical means WHAT IS LIGHTING BALANCE? = 46 Adjusting lighting balance Using a base light Localised lighting USING DIFFUSERS = 48 Softening light Reducing overall intensity Reducing localised intensity RESTRICTING LIGHT = 50 Barndoors Gobos, flags, cookies Spill rings Snoots PORTRAITURE = 52 Lighting women Lighting men LIGHTING A SINGLE PERSON = 54 The full face The profile LIGHTING TWO PEOPLE = 56 Light direction Divided backlighting LIGHTING A GROUP = 58 Individual treatment Communal treatment Subdivision PEOPLE TALKING-TYPICAL SET-UPS = 60 Measuring lamp positions Practical considerations PROBLEM OCCASIONS = 62 The head turns Positions near walls ANTICIPATING TROUBLE = 64 Lighting approaches Lamp positions LIGHTING AMOVING PERSON = 66 Individual areas Subdivided areas Total treatment POSITIONING PEOPLE = 68 Looking down Close positions Against light surfaces CHANGING CAMERA POSITIONS = 70 General solutions Preferred position Dual set-up DEMONSTRATIONS - LIGHTING PROBLEMS = 72 Fundamental lighting precautions Typical techniques Back light Reflections DEMONSTRATIONS-TYPICAL SET-UPS = 74 The demonstration area Positioning the demonstrator's key light The wall display LIGHTING FOR CLARITY = 76 Sharpness Tonal differentiation Physical characteristics DISTANCE, SPACE AND SIZE = 78 Distance and space Size PICTORIAL LIGHTING = 80 Walls Shadows Light patterns PROVIDING SHADOW EFFECTS = 82 Types of shadow Effective shadows CONTROLLED SHADOWS = 84 Moving the key light Relighting the background Disguising the shadow SHADOWLESS LIGHTING = 86 Positioning the soft light Applications for shadowless lighting Background lighting SCENIC LIGHTING-APPROACH = 88 General methods Specific background lighting SCENIC LIGHTING - NEUTRAL SETTINGS = 90 Plain backgrounds Drapes SCENIC LIGHTING - DECORATIVE EFFECTS = 92 Spotlight patterns Projected patterns ENVIRONMENTAL EFFECT = 94 Methods of approach FAULTS IN SCENIC LIGHTING = 96 Typical defects and their remedies LIGHTING OPEN AREAS = 98 Single-key coverage Dual keys Sectional keys Soft frontal LIGHTING IN CONFINED SPACES = 100 Cramped quarters Restricted access LIGHTING CYCLORAMAS = 102 The plain eye The decorative eye LIGHTING TRANSLUCENT BACKGROUNDS = 104 Methods of lighting Shadow effects LIGHTING MULTI-HEIGHT STAGING = 106 Rostra (parallels) Stairs USING A FOLLOWING SPOTLIGHT = 108 The following spotlight's design Operating the following spotlight LOCATION LIGHTING-INTERIORS = 110 The project Existing illumination LOCATION LIGHTING-EXTERIORS = 112 Natural light Compensatory lighting SCENIC PROJECTION AND INSERTION = 114 Scenic projection Scenic insertion Matching LIGHTING CHANGES = 116 Control facilities Pictorial changes USING COLOURED LIGHT = 118 Using colour media Coloured light on people Coloured lighten backgrounds LIGHTING GRAPHICS = 120 Lighting set-ups Pepper's ghost PLOTTING LAMPS = 122 Preparatory plots Record plots SETTING LAMPS = 124 Typical approaches Setting lamps Checking lamps CAMERA REHEARSAL = 126 Suitability of lighting Correcting shortcomings Checking pictures MEASURING LIGHT = 128 Preparing correct light levels Methods of measuring LIGHTING AND SOUND = 130 How sound pick-up affects lighting Controlling boom shadows LIGHTING AND PICTURE CONTROL = 132 Operational controls Techniques LIGHTING POWER SUPPLIES = 134 Power sources Cabling SAFETY = 136 FURTHER READING = 138 GLOSSARY = 139

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