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SANDVIK AND VEAL I FILMS FOR TELEVISION
51
LIGHTING CODE
Y LlGHT-5000 wott Fresnel placed at onglec<: (less than 45°) from camera and at higher elevation thon camera so as to break shadow between nose and upper lip
I UGHTS-Diffused, 2000 or 5000-watt Fresnel
A. Placed at eye level
B. Placed lower than eye level.
>P BACK LIGHT-Diffused, 2000 or 5000 wott Fresnel. CKGROUNQ LIGHTSDiffused or not, depending upon dramoric effect desired 750 or 1000-watt Fresnel, mounted on top of scene flats
EfftCf UGHT ^Jk
%\
WAU SPOT \. iET WINOOV
A. N i-i
O
> n
' ^"^=^>
KEY LIGHT \
X
6
fill UGHT A B«S§3 SUBJECT
\
IP
CAMERA S*
£
C
Fill UGHT B
LIGHTING CODE
KEY LIGHT-5000-watt Fresnel pieced about 2^
obove
subject's
eye level and at angleoC (less thon 45°) fr'c
m comer
o
FILL LIGHTS-Diffusfd, soft, 2C00-walt Fresnel
A Placed at eye level.
B. Placed below subject's waistline
C. Placed above for background control.
TOP BACK LIGHT-Diffused, 2000 watt Fresne
1
WALL SPOT-Diffused, 2000-wail Fresnel for
backgro
und
control.
EFFECT LIGHT 1 20-amp. Arc Fresnel for windc
w effect
on back
ground.
Fig. 8. Typical studio lighting arrangement.
Fig. 9. Typical studio lighting arrangement for window effect lighting.
rather poor, due partly to over-simplification in lighting, it served to illustrate that a lighting contrast between 1 to 2 and 1 to 3 results in the better tone quality. At the lowest contrast, again due partly to over-simplification in lighting, the subject has the appearance of a mannikin or a wax figure. Above I to 4, both highlight detail and shadow detail are lost.
General Photographic Requirements.
The subject matter should be photographed as large as possible but should not unduly crowd action and movement of characters. The most pleasing reproduction on the receiver screen is obtained from close-ups, and they should be used^s frequently as possible. Medium shots give just acceptable reproduction, while long shots give rather poor reproduction. It is necessary, of course, to include some long shots in order to obtain the essential continuity in terms of transition, location, and dramatic narration of the story. The need for numerous close-ups is emphasized if one constantly visualizes reproduction in terms of the small viewing screen. On the average, most receivers are equipped with rather small screens, compared with screens commonly used for projection of home motion pictures.
In general, the stage sets may be smaller than those used for conventional motion-picture productions because of the need for many close-ups and the preservation of background detail. Fine or delicate detail in background, clothing, furniture, accessories, and all properties, such as illustrated in Fig. 1, should be avoided. Instead, large patterns with sharp changes in contrast,