TELEVISION LIGHTING

LEARNING OBJECTIVE: Identify the principles of television lighting.

Earlier in this chapter, we noted that the television camera changes various levels of light reflected from objects in the scene into electrical impulses of varying strength. Therefore, the primary objective in any television lighting setup is to ensure sufficient illumination for the correct operation of the television camera. However, at the same time, television lighting must support or even establish the atmosphere of the set or scene.

Television lighting essentially follows the same principles as photographic lighting (Chapter 11). For the sake of clarity, however, we will take a brief look at lighting as it applies to this medium.

COLOR TEMPERATURE

Before we cover the principles of television lighting, we must address color temperature briefly.

Color temperature is the amount of certain colors that make up a particular white light measured in degrees Kelvin (K). Since the television camera changes images into electronic impulses, the wavelengths of light that vibrate at various frequencies and makeup the different hues or colors will have an effect on the output of the camera.

The simplest way to think of color temperature, without getting into complicated formulas, is to say that light of a lower color temperature appears more toward the orange end of the scale, while light of a higher color temperature appears more toward the blue end of the scale.

Studio lighting is standardized at 3200K Daylight sources are balanced in the range of 5000K to 7000K You do not have to know what a degree Kelvin is specifically, as long as you accept it as a unit of measure and know how color temperature effects the color television picture.

STUDIO LIGHTING

In this section, we cover the following factors that contribute to proper studio lighting: l Three-point lighting (key light, fill light and backlight) l Use of the f/stop l Proper lighting intensity . Proper lighting placement l Skin tones

Key Light

The key light (fig. 14-27) serves as the main light source. It provides sufficient light to operate the camera and acts as the reference point for all other lighting. Place the key light in front of the subject and off to the side at about a 45-degree angle, then elevate it 30 to 35

Figure 14-27. - Key light.

Figure 14-28. - Fill light.

degrees. You may eventually make adjustment for any number of reasons, but this is a good place to start.

Fill Light

The fill light (fig. 14-28) fills in and softens the harsh shadows created by the key light. Position it on the opposite side of the camera from the key light and elevate it 30 to 35 degrees.

Backlight

The backlight (fig. 14-29) is used to separate the subject from the background by casting a rim of light across the head and shoulders of the subject. You should place the backlight at an elevated angle, but be careful not to light the top of the subject's head. A good starting point for the backlight is directly behind the subject, elevated 30 to 35 degrees. If your light is mounted on a stand, move it off to the side a little to get the standout of the picture.

Use of the f/Stop

Like any other camera lens, a television camera lens produces optimum results when stopped down one or two stops from its maximum aperture. Depth of field also is increased by stopping down. Therefore, your lighting should have sufficient intensity so you can stop down for the best picture possible.

Figure 14-29. - Backlight.

Proper Lighting Intensity

Lighting in television is as important as lighting in basic photography. It has both artistic and technical aspects. Well-planned and executed lighting produces a clear picture with outstanding contrast and depth.

Most television cameras are capable of operating in very low-light levels. However, shooting in dim light may give you video noise and be of generally poor quality.

Proper Lighting Placement

When you set up lighting for a live television production, remember that these productions are continuous; therefore, you must make sure that the lighting you use will be effective from every angle the camera sees in the program. You do not have the luxury of stopping to readjust lighting for each shot. You must make sure that the lighting fixtures and cables do not interfere with the free movement of the cameras. As always, you must plan ahead to avoid embarrassing pitfalls, and then let your television monitor be your guide when making additions to, and subtractions from, your lighting setup.

Skin Tones

Because skin tones are the only "true" means by which a viewer can adjust the color balance of his television set, it is obvious that skin tones must be reproduced accurately and naturally. Proper lighting is the chief way of accomplishing this task.

One way of reproducing natural skin tones is to light the set evenly. If a talent moves from a light scene to a dark scene, the talent's face should be kept as evenly lighted as possible. The difference between the dark scene and the light scene should be accomplished through backlighting and not the lighting on the talent.

Since extreme shadows take on their own color, you should avoid casting them on the face of the talent. However, do not eliminate facial shadows altogether. Lighten them with fill light instead. A certain amount of shadows are necessary to give character and dimension to the face.

Do not permit color reflections from clothing or scenery to fall on the talent's face. Likewise, avoid the use of colored lights to light the talent (except for special effects). Save the colored lights for lighting the background.