On Location (pages:60-72)

Light!

Without light, there would be no video.And without good lighting, there would be no good video.

Light comes in two somewhat different forms:Directly from a light source such as the sun, a light bulb or a candle.

This is call incident light.

A second kind of light, which has been reflected from and, as a result, altered by the surface of a material substance, is reflected light.

It is the way we shape and control reflected light that determines what the TV camera perceives as a picture.

Lighting objectives: Creative Purposes

Lighting has three main purposes:◦To define shape and texture of physical forms◦To imitate quality of light characteristics of a situation or

setting in reality◦To establish and enhance the mood of a performance or

setting

◦Think about it: You view TV on a flat surface. The illusion of depth is created by the effects of light and shadow.

◦This artificially produced dimension of depth allows the eye to reconstruct for the brain the real or intended shape and texture of an object.

Lighting objectives: Creative Purposes

It is the manipulation of shadows, rather than adding more light, that most effectively adds form and texture.

Light from the same direction as the camera can eliminate rough shadows while side lighting exaggerates shadows.

Off-camera lighting effects help to pinpoint a setting: low-angle lights indicates a campfire or fireplace; continually flashing red light indicates presence of emergency vehicle.

Lighting objectives: Creative Purposes

Mood: can be reinforced by quality of light and its abundance or absence◦Comedy is bright and usually a fully lit background.

(high-key lightning)◦Conversely, tragedy or fear are communicated when

the area surrounding an actor is dark or dim. (low-key lighting)

Special dramatic moods may be used: a flashing neon sign outside a motel suggests a seedy part of town

Cameo lightning is where the performer is lit but the background is completely dark. And, performers in complete darkness against a brightly lit background creates a silhouette effect.

Equipment for lighting

Sun Gun – the name given to any on-camera, battery-powered lights mounted

directly above the lens

- Sun Guns are dangerous because therein lies a problem: Any light

mounted on the camera will throw substantially more light on objects close to the camera, rendering them radically

brighter than anything else in the frame. There’s no detail, no depth, just

a white, shot-spoiling blob.

The secret to using a sun gun well is about not making it look like a headlight in someone’s face.

Lighting equipment

If there is not enough available light, there are some cheap reflectors – think white foam boards or mirrors – but the best equipment is expensive.

◦Kino Flo: The company Kino Flo produces a constant lighting system made from compact florescent tubes ranging from 4- to 2-foot lengths.

◦ Good because they are compact and constant

Lighting equipment

◦Dedo: Four light heads, four stands, a power unit and cables in one box- Each light head has a lens system- Halogen lamps are easily changed and last longer

than tungsten lamps

Lighting equipment

◦Chimera: collapsible, lightweight fabric boxes that deliver a big, soft, pleasing light.- Recognized as the lighting industry standard

◦The bigger the source, the more ◦ flattering the light

Lighting on a budget:◦China ball: a flimsy paper lantern that provides

effective soft source lighting and less heat - These are perfect to place between two actors that are

talking to each other, or they just create a nice soft wrapping light source for your main talent.

The paper provides a nice diffusion for the light and the sphere creates an omni pattern – something that will provide light in all directions.

Lighting techniques

To start, look for natural light.◦Put someone in the brighter part of the room,

letting the background be darker – place them near the window.

◦Then, control the light: use a black jacket to get rid of some light reflecting back. This is called negative fill. A white poster board or “bounce card” is positive fill.

◦The larger you can make the source of the light, the more flattening the light and the more real. This is why the Kino Flos are good because they are big.

Three types of light

Key LightFill lightBacklight

◦They differ from each other in direction, intensity and degree to which they are focused or diffused.

Most likely, your video will not look “right” without adding lighting, especially if there is too much light.

Sometimes, natural light is the perfect light. (Think sunlight pouring in the kitchen window.)

Remember, you have to develop a good eye for lighting. What do you want to say?

Three-point lighting

You’re creating the illusion of a third dimension – the formula for basic lighting is three-point lighting◦The first light set up in

the system is the most important: key light – this is the brightest light at the front of your subject, about 45 degrees from the line drawn between your subject and the camera

Key light

Think of key light as the apparent source of light hitting the talent. (A spotlight is normally used.)

- The key light shapes the face and features, including the eye itself and should be placed off to the side of the talent, between 30 and 45 degrees.

- Should be placed high enough to give some shadow under the chin and nose, but low enough to get the light directly in the eye socket.

Three-point lighting

Fill light is used to fill in on the dark side.◦Fill light also softens some of the harsher

shadows created by the bright key light.

- Outdoors, when the sun is your key light, you often use a reflector or bounce card to create a fill light.

- The fill light is placed 45 from the camera, opposite the key light and set at half intensity.

- Creates subtle and pleasing effects- Should not be as strong as key light

- The key and fill light should normallybe placed 30 to 45 degrees from a line drawn straight in front of the talent

Lighting techniques

Backlight is for separation:

◦Backlight accentuates features such as hair, shoulders, so don’t put a person with dark hair on a dark background. You need color separation.

◦Without backlight, the subject appears flat and tends to blend into the background

◦The China ball is the cheapest, easiest source for light and easy way to deliver subtle lighting.

◦Keep the China ball close to the subject – the more you back away, the harder the light becomes and the more shadows you get.- You can see the round China ball in the subject’s

eyes when it is close to the person. It’s flattering.

Back light

Third in the three-point setup. Smaller, lower-wattage light placed

directly behind subject and in line with the camera

Creates a visual separation between the subject and the background

Light should be aimed at the person’s neck to create a subtle rim around the subject◦Blondes and old folks with thin hair often need a

bit less backlight.

No back light

Interview setup

◦ In this assignment, you will have to function as the producer-writer-director as well as serve in the basic production positions.

◦ Get 10 to 20 second segments – sometimes, this is totally out of story sequence.

TipsMonitor VU or volume unit meterWear headphones Use viewfinder not LCD screenUse microphones for interviewsGet a-roll and b-roll

Sound

Always wear headphones when you’re shooting. It’s the only way to troubleshoot sound issues before it’s too late.◦Tips: Keep all doors and windows closed when

you’re recording. Silence phones (vibrate makes noise, too.)

◦Turn off appliances that cycle – fridge, A/C◦Pause when planes pass overhead◦Make sure everyone knows there is no talking

allowed when the camera is rolling: quiet on the set!

◦Keep blankets to muffle noise!

Sound

The goal in recording is to make it clean, crisp, free of noise and interference.◦You’ll need an ear for trouble◦The quality of your recordings will depend on

how well you manage the location, which mics you use and where they are placed and how you nip problems in the bud

◦The most common problem is the difference between the line level and mic level feeds, so monitor the audio going into the camera

Mics

The on-camera mic is often sufficient, unless you want to be recognized as a professional.◦Shotgun mics – Limits the sounds to what’s in

front of the camera◦Records in one direction – the direction it’s

pointed◦The long-barreled design of the mic cancels

and rejects most audio that approaches from the sides.

Mics

Lavaliere mics ◦Tiny mics designed to be used close to the

sound source – tie pin or clip on mics◦For broadcast and talk shows – 6 to 8 inches

from a person’s mouth◦Can be wireless, or run off the camera but often

needs batteries of its own

Mics

Stick mics◦Basic mics that resemble lollipops or icecream

cones◦The darlings of the news business◦Chosen not for sensitivity and fidelity but

ruggedness. ◦Can add an air of immediacy and journalistic

integrity to your production

Mics

PZM – pressure zone micsThe boundary effect mic

◦Not the most common or conventional, but can be used to pick up the entire room

◦It’s commonly suspended upside-down just above the surface in its housing.

◦It relies on reflected sound and offers a better response than putting a couple of stick mics around the table.

Mics

Choosing the proper place for a mic is just as important as choosing the right mic.

Some are designed for distance, some are designed for balancing extraneous sound.

Sound changes over distance and minor changes can alter the mic’s sound.

Be aware of noisy clothing like silk, and noisy bracelets.

The best sound is obtained when the speaker speaks across the mic’s pickup, rather than directly into the mic.

Mics

A boom is used with the shotgun or any other mic and mounted at the end of a telescoping arm.

Silence: Silence is not silent. Room tone or ambient noise is needed.

Try to remember to keep the talking and extraneous noise to a bare minimum when recording sound

Rolling tape

It’s considered bad journalistic style to fake it or ask for a do-over; the challenge is getting things right the first time.◦Lean, brace, prop, hang, do whatever is

necessary to steady your shots◦Use horizons and strong vertical elements near

the center of the screen to be sure your shots are level.

◦Bracket your moves. Hold the shot for at least 5 seconds before the move starts and after the finish.

◦Don’t use the LCD screen – they are super sensitive to light and often give the wrong impression

Rolling tape

Shoot sequences: the man typing, the computer screen, his fingers on the keyboard, his hand picking up the pone, the man talking. Think in terms of shots that will edit together smooth.

Shoot people in transitions from one place to the next.

Shoot USEFUL cutaways: it’s a connector.Don’t just follow the action: let the actions

of the people and objects move into or out of the frame.

Basic tips for shooting

Take stills of the location before you start moving things around.

Spiking means laying down a piece of tape to mark the spot

Walk your actors and crew through the shot, then walk them back to their start positions

Ask if anyone had a problem with the take. Decide if it’s worth doing another.

Don’t rewind. You might overrecord.Eject immediately. Lock it. Label it and put

it in a safe place.

Rolling tape

Shoot sequences: the man typing, the computer screen, his fingers on the keyboard, his hand picking up the pone, the man talking. Think in terms of shots that will edit together smooth.

Shoot people in transitions from one place to the next.

Shoot USEFUL cutaways: it’s a connector.Don’t just follow the action: let the actions

of the people and objects move into or out of the frame.