12
Chapter 15
Lighting
Using Professional Terms. . . . . . . . . . . . .296
Types of Light . . . . . . . . . . . . . . . . . . . . . .296
Types of Lighting Instruments. . . . . . . . . .297
Accessories . . . . . . . . . . . . . . . . . . . . . . .299
Fluorescent Lamps. . . . . . . . . . . . . . . . . .302
Supports for Lighting Instruments. . . . . . .303
Colors of Light . . . . . . . . . . . . . . . . . . . . .306
White Light. . . . . . . . . . . . . . . . . . . . . .307
Colored Light . . . . . . . . . . . . . . . . . . . 309
Lighting Intensity. . . . . . . . . . . . . . . . . . . . 310
Move the Instrument . . . . . . . . . . . . . .310
Replace the Lamp . . . . . . . . . . . . . . . . .311
Use Diffusion or a Scrim . . . . . . . . . . .311
Use Bounce Lighting . . . . . . . . . . . . . .312
Use a Dimmer . . . . . . . . . . . . . . . . . . .313
Preserving the Life of Incandescent
Lamps. . . . . . . . . . . . . . . . . . . . . . . . . 314
Planning the Set Lighting . . . . . . . . . . . . . 315
Techniques of Television Lighting. . . . . . . 317
Three-Point Lighting . . . . . . . . . . . . . .317
Four-Point Lighting . . . . . . . . . . . . . . .319
Cross-Key Lighting. . . . . . . . . . . . . . . .320
Lighting with Fluorescents . . . . . . . . . . . .321
The Camera Light. . . . . . . . . . . . . . . . . . .322
Contrast Ratio. . . . . . . . . . . . . . . . . . . . . .323
Lighting Check . . . . . . . . . . . . . . . . . . . . .323
Chapter 16
Studio and
Remote Shooting
The Production Meeting . . . . . . . . . . . . . .330
Studio Shooting . . . . . . . . . . . . . . . . . . . .331
The Studio Environment . . . . . . . . . . .331
The Control Room . . . . . . . . . . . . . . . .335
The Audio Booth. . . . . . . . . . . . . . . . . .337
Master Control Room. . . . . . . . . . . . . .337
Specialized Areas . . . . . . . . . . . . . . . . .338
Remote Shooting . . . . . . . . . . . . . . . . . . .338
Types of Remote Shoots . . . . . . . . . . . .338
The Location Survey . . . . . . . . . . . . . .339
Comparing Studio and
Remote Shooting . . . . . . . . . . . . . . . . 341
Advantages of the Studio Shoot . . . . . .341
Disadvantages of the Studio Shoot . . . .341
Advantages of a Remote Shoot . . . . . . 342
Disadvantages of a Remote Shoot. . . . 342
Chapter 17
Remote Shooting
Camera Mounts . . . . . . . . . . . . . . . . . . . .348
Lighting for a Remote Shoot. . . . . . . . . . .350
Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . 351
Power . . . . . . . . . . . . . . . . . . . . . . . . . . . .352
Batteries . . . . . . . . . . . . . . . . . . . . . . . . . .353
General Cautions . . . . . . . . . . . . . . . . .353
Cold Temperatures and Batteries . . . . .354
Condensation . . . . . . . . . . . . . . . . . . . . . .354
Remote Shooting Techniques. . . . . . . . . .355
Multi-Camera Shooting . . . . . . . . . . . .356
Single-Camera Shooting. . . . . . . . . . . .358
Chapter 18
Props, Set Dressing,
and Scenery
Creating the Set Design . . . . . . . . . . . . . .362
Furniture . . . . . . . . . . . . . . . . . . . . . . .362
Props . . . . . . . . . . . . . . . . . . . . . . . . . .365
Flats, Curtains, and Backdrops. . . . . . .366
Visual Design Considerations. . . . . . . . . .368
The 3-D Effect . . . . . . . . . . . . . . . . . . .368
Patterns . . . . . . . . . . . . . . . . . . . . . . . .369
Striking the Set . . . . . . . . . . . . . . . . . . . . .369