Page numbers followed by f refer to figures; page numbers followed by t refer to tables.
A
Ace or baby Fresnels, 257, 258, 258f
Air conditioning system concerns in location productions, 172
American Cinematographer, 162, 240
American Institute of Electrical Engineers, 34
American National Standards Institute (ANSI), 257
Ampere capacity and wire size, 175, 175t
Amplitude of signal, waveform monitors in measurement of, 48–49, 48f
Analog equipment
composite waveform monitor/vectorscope, 52f
incident light meter, 38f
reflective light meter, 38f
ANSI (American National Standards Institute), 257
Apple boxes, 257
Arri, 89–92
350-watt Fresnel
in office environment with lone interviewee, 222, 230, 232
650-watt Fresnel
in exercise video, 248
in interview setting, 253
in restaurant scenes, 237, 238, 240, 242, 243
1K Fresnel
in office environment with lone interviewee, 227, 232
in restaurant scenes, 236, 240
2K Fresnel in restaurant scenes, 234, 236, 236f, 237
halogen metal iodine lamps, 89–92, 90f, 91f
Compact 1200-watt, 65f, 89–90, 91f
Asbestos gloves, 257
Automatic functions of cameras, 40
for black balance, 9
in iris system, 34
for white balance, 7–8
B
Baby or ace Fresnels, 257, 258, 258f
Background lights, 141–142, 142f
Backlights, 133–136, 136f–138f, 150, 204f
dimmers for, 136
in exercise video, 247
in exterior night scenes, 188–189
with hair light, 135, 136, 137f, 138, 140, 140f
with key and fill lights, 133, 138f
kicker, 140–141
in matting materials, 205
placement and position of, 154–155
in far-side setup, 156–157
in near-side setup, 156
in side-lighting setup, 163
on Lowel Omni light, 133, 259f
on photoflood lamp, 58f
Base light, 259
Batten, 259
Bazooka, 259
Beach scenes
daylight and butterfly use in, 179–180, 179f–180f
Belden Communications neutral density filters, 10
Best boy, 259–260
Black balance function of cameras, 8–9
Blackbody standard on color temperature, 3, 5, 260
color rendering index based on, 5–6
Blackwrap, 219, 260, 261f–262f
in interview lighting setup, 253, 255f
Blanket-Lite (Kino-Flo), 67, 68f, 98, 98f
Blocking, lighting setup for, 37
Blue gun only color monitor setup procedure, 46–47, 47f
Blue light, 3
ratio to red and green in white light, 7, 8
Borderlight, 260
Brightness
adjustment in color monitor setup, 45, 47
and contrast ratio, 119–127
waveform monitor information on, 49, 50
and zebra stripes, 50
Broad flood lights, 75–76, 76f–78f
Building effects on exterior daylight scenes, 182–185, 184f–185f
in exterior daylight scenes, 55, 56f, 178–180
C clamps, 260
C stands (Century stands), 181, 260
Cadmium sulfide cell light meters, 34
Cameo or limbo lighting, 260
Cameras, 6–12
black balance function of, 8–9, 9f
color bars generated by, 43
filters and filter wheels of, 7f, 9–12
internal optical system of, 6, 7f
iris system of, automatic, 34
white balance function of, automatic, 7–8
zebra stripe function of, 48, 49–50, 49f
Carbon arc lamps and fixtures, 62–63
Cathode ray tube, 3
Century Lighting, 109
Century stands (C stands), 181, 260
Charged coupled device of color cameras, 6, 7, 119
Chaser lamps, 260
Video Pro Plus Lightbanks, 92–93, 94f
Chroma key, 195, 201, 202, 203f, 205
from vectorscope, 50–53
from waveform monitor, 50
Cinefoil (Rosco), 219
Cliplock connectors, 262
Clips and fasteners
C clamps, 260
cliplock connectors, 262
drop-ceiling scissor clamps, 133, 267, 267f
Lowel clips, 272
Matthews Griff Clips, 219
Close-up shots, lighting setup for, 154
CML fiber-optic systems, 209–211
Cold Creek Manor, 163
Color, 1–6
and temperature of light source, 3–23. See also Color temperature
Color balance
and black balance function of cameras, 8–9, 9f
and filter wheel position, 9–12
in outdoor settings, 12–16
ratio of red, blue, and green in, 7
and white balance function of cameras
automatic, 7–8
in outdoor settings, 12–16
Color bars in monitor setup, 42–48
Color compensation (CC) index, 38–39, 40
Color monitor setup procedures, 41–48
brightness adjustment in, 45, 47
contrast adjustment in, 45
EIA color bars in, 43, 44f, 46
saturation and hue of colors in, 46–47
SMPTE color bars in, 42, 43, 45, 45f, 46–47
test signals in, 42
Color rendering index, 5–6
in halogen metal iodine lamp use, 64
of background screen, 205
buildings and large structures affecting, 182–185, 184f–185f
color rendering index on, 5–6
of common light sources, 23, 23t
and filter wheel positions, 9–12
meter in measurement of, 8, 38–40
color correction filters in, 17–18, 20–23
and outdoor color balance, 12–16, 13f
and voltage of lamps, 8
for warm glow in period film, 39, 39f
Color temperature meters, 8, 38–40
color compensation (CC) index display of, 38–39, 40
light-balancing (LB) index display of, 39–40
Colored lights, 143–145, 143f–147f
for evening effects, 148, 149f–150f
in exercise video, 247–248, 249f–252f
hair color of subject in, 145, 146f–147f
Colortran Leko design, 113
Composite lighting, 202–203
Concert lighting, 35
Continuity issues
in key light placement, 130
in lighting ratio, 123–124
Contrast, 119–127
accessories controlling, 127
in color monitor setup procedure, 45
and exposure ratio, 125–127
and lighting ratio, 122–125
in exterior night scenes, 188
in interview lighting setup, 253, 255f
lighting kits, 102–104
as backlight, 133
dimmer for, 220
operating temperature of, 26
radiation generated by, 26
Photo Dimmer, 219–220
research on future products, 217
Cross-key lighting setups, 163, 166f, 167
Cutters or flags, 269
lighting methods and equipment, 200–201, 263, 264f
shapes and designs of, 196f
soft, 197–200
Cycscreen (Rosco), 220
D
Daylight, 177–185
butterfly use in, 55, 56f, 178–180
camera filters for, 9–10, 12, 177
and color balance in outdoor settings, 12–16, 13f
color temperature of, 5, 6, 12, 13f, 177
buildings and large structures affecting, 182–185, 184f–185f
in indoor setting with windows, 16–18, 16f–18f, 19–20
halogen metal iodine PAR lamp as supplement to, 214, 215f
as key light, 145–148, 148f–149f
reflectors used in, 178, 180–182, 183f
and three-point lighting, 145–150, 148f–150f
Daylight lamps, 5
DecaPod Light (DecaSource), 214, 217, 218f
DecaSource lighting, 214, 217, 218f
Dedolight in interview lighting setup, 253, 255f
Deuce Fresnel, 263
Dichroic filter coating of halogen lamps, 5, 61
Diffuse illumination, 55
Diffuse reflection, 66, 68, 69f
Diffusion materials, 265
on butterfly, 55, 56f, 178–180, 260
Griff Clips for, 219
homemade improvements using, 223, 223f
of incident light meters, 36–37
Digimole HMI PAR light (Mole-Richardson), 100, 101f
Digital equipment
incident light meter, 36f
reflective light meter, 35f
waveform monitor/vectorscope, 52–53, 53f
for backlights, 136
recent developments in, 219–220
Dinky Fresnels, 265
Discharge lamps, halogen metal iodine (HMI), 63–64, 65f
from Arri, 62f, 65f, 89–92, 90f, 91f
color temperature of light from, 5
cost and efficiency of, 64
in exterior night scenes, 190
from Mole-Richardson, 100, 101f, 213f, 234, 235f
recent developments in, 209–214
Diva Light (Kino-Flo), 95, 96f
Downstage area, 265–267
homemade improvements using, 221–223, 222f–223f
Dressing cables, 267
Drop-ceiling scissor clamp, 133, 267, 267f
E
Edison plug or outlet, 267–268
Egg crates, 268
EIA color bars in monitor setup, 43, 44f, 46
Electrical system, 169–176, 190–193
ampere capacity and wire size in, 175, 175t
cliplock connectors in, 262
crew member responsible for, 268
in distant locations, tool checklist for working with, 278–282
Edison plugs or outlets in, 267–268
estimation of circuit load in, 173–174, 174t
fuse types and ratings in, 171, 175–176
Mole-pin connectors in, 193, 272
site survey on, 169–176
stage plugs in, 275–276
with temporary service, 176, 190–191
tie-in procedure for, 174, 191–193
trick Y arrangement of cables in, 276
Electromagnetic spectrum, 4f
Electronic Industries Association (EIA) color bars in monitor setup, 43, 44f, 46
Ellipsoidal lights, 109, 268, 268f
Exercise video lighting, 247–248, 249f–252f
Exposure ratios, 125–127
determination in lighting setup, 153, 154
F
Fabric cycloramas, 197–200
Falloff of light intensity, 27–31, 27f–31f
scrims and diffusion materials in, 30–31, 30f–31f
between seated and standing subjects, 29
Far-side lighting setup, 156–159, 160f–161f
in multi-lights, 83
Fiber-optic systems, 209–211
in lighting car interior, 210, 210f
diffusion of, 131–132
with foam core, 133, 134f, 146, 155
intensity of, 131–132
compared to key light, 122–125
ratio in, 122–125
in office environment with lone interviewee, 227, 228, 228f, 229f
placement and position of, 132, 268
in far-side setup, 158
in head-on key light, 155
in near-side setup, 156
ratio to key light, 122–125
in high key ratio, 123
importance of continuity in, 123–124
in low key ratio, 123–124
measurement of, 124–125
Filter wheels, 7f
selecting position of, 9–12
types of filters in, 10–12
Filters, 20–23
applied to windows, 17–18, 17f–18f, 20
color temperature meters in selection of, 38–39, 40
in exterior night scenes, 190
in falloff problems, 30
in filter wheels, 9–12
for fluorescent light fixtures, 20–21
of incident light meters, 36–37
neutral density. See Neutral density filters
polarizing, used with matting materials, 205
Fire alarm concerns in location lighting, 175
Fisher, Jules, 217
Fixed-focus lighting instruments, 83
Flexfill (Visual Departures), 181, 182f
in interview lighting setup, 253, 254f
Flood lights, 74–83
focusing spot lights used as, 72
Fluorescent lamps, 5
advancements in, 207
color temperature of, 5
color rendering index on, 6
and problems of mixed color temperatures, 19, 20–21
Fluorofilters, 20–21
Foam core
fill light with, 133, 134f, 146
in head-on key light, 155
as soft reflective material, 133, 181
Focusing spot lights, 70–74
falloff in, 27–31
Forrest Gump, 207
Four Bank Select lights (Kino-Flo), 96–98
Four-point lighting setup, 133
Fren-L 650 focusing spot light, 70
Fresnel, Augustin Jean, 106, 108
compact, recent developments in, 217
components of, 110f
deuce, 263
dinky, 265
as key lights, 150
spot and flood focus of, 109, 109f
Fuse types and ratings, 171, 175–176
Future trends in lighting technology, 209–224
G
Gaffer, 269
Gator foam, 181
Generator use for power supply on location, 190, 191
in tie-in procedure, 192
for working with quartz-halogen lamps, 59
in motivated lighting, 160
use of term, 270–272
Gothic Ultimatte, 202
Great American Market Blackwrap, 219, 260
Great American Scene Machine, 200
Green light, 3
and minus-green filters, 20
ratio to red and blue in white light, 7, 8
Griff Clips (Matthews), 219
H
Hair color
and colored light selection, 145, 146f–147f
and hair light selection, 138, 139f, 140
Hair light, 136–140, 137f, 139f, 140f, 151
with backlight, 135, 136, 137f, 138, 140, 140f
color of hair affecting, 138, 139f, 140
dichroic filter coating of, 5, 61
halogen metal iodine (HMI) discharge lamps, 63–64, 65f
from Arri, 62f, 65f, 89–92, 90f, 91f
color temperature of light from, 5
cost and efficiency of, 64
in exterior night scenes, 190
from Mole-Richardson, 100, 101f, 213f, 234, 235f
recent developments in, 209–214
quartz-halogen lamps, 58–61, 60f–62f
tungsten filament of, 5, 58–59
Hard cycloramas, 196–197, 196f–199f
Head-on lighting setup, 155, 156f–157f
Heating process, color temperature changes in, 3–6
Heating system concerns in location productions, 172
Hue of color, 2
adjustment in color monitor setup procedure, 46–47
vectorscope information on, 50–53
I
IEEE (Institute of Electrical and Electronics Engineers) units, 34, 163
in waveform monitors, 34, 48, 48f, 49
in zebra stripes, 50
wattage of, 25
Incident light meters, 36–37
digital, 36f
in lighting ratio determination, 124–125
Indoor settings
falloff of light intensity in, 27–31, 28f, 29f
interview lighting setup in, 248–256, 253f–256f
in lone interviewee, 225–234, 226f–233f
mixed color temperatures in, 16–18, 16f–18f, 19–21
in studio. See Studio lighting
Infrared radiation, 4f, 25, 26
Inky lights, 73–74, 75f, 272, 273f
Institute of Electrical and Electronics Engineers (IEEE) units, 34
in waveform monitors, 34, 48, 48f, 49
in zebra stripes, 50
Institute of Radio Engineers, 34
Insurance coverage for location productions, 170
Intensity of light, 2
in exposure ratios, 125–127
of fill light, 131–132
ratio to key light, 122–125
of key light, 131
ratio to fill light, 122–125
light meters in measurement of, 33–37, 124–125
waveform monitor information on, 49
International Commission of Illumination, 5
Interview lighting setup, 248–256, 253f–256f
in lone interviewee, 225–234, 226f–233f
Iris system of cameras, automatic, 34
compared to reflective light meters, 34, 35–36
J
Junior light (Mole-Richardson), 131
K
Kelvin temperature scale, 3, 5, 272
Key light, 129–131
with background light, 141
ratio in, 122–125
intensity of, 131
ratio to fill light, 122–125
in office environment with lone interviewee, 227, 227f
placement and position of, 130
in cross-key setup, 163, 166f, 167
in far-side setup, 156–159, 160f–161f
in near-side setup, 155–156, 158f–159f
in side-lighting setup, 162, 163
in portraiture setup, 130
ratio to fill light, 122–125
in high key ratio, 123
importance of continuity in, 123–124
in low-key ratio, 123–124
measurement of, 124–125
sunlight as, 145–148, 148f–149f
Kickers, 140–141
Kino-Flo, 94–98
Blanket-Lite, 67, 68f, 98, 98f
fluorescent lighting units, 104
Four Bank Select lights, 96–98
lighting kits, 104
Micro-Flo light, 70–71, 95–96, 97f
Kit lighting, 101–104, 117–118, 117f–118f
L
Lamps, 272
carbon arc, 62–63
color correction filters for, 20–23
color temperature of, 3–5
of common types, 23t
and problems of mixed color temperatures, 19, 20–21
and voltage, 8
falloff of light intensity, 27–31, 28f, 29f
halogen. See Halogen lamps
light and heat generated by, 25
MR-16, 26, 61, 63f, 93–94. See also MR-16 lamps
in multi-light arrangements, 83
operating temperature of, 4–5, 26
PAR. See PAR lamps
quality of light from, 24–25, 25f
types of, 55–64
alignment of, 112–113
as effects lights, 151
as key lights, 150
Lens
flair from backlights, 133, 135–136
Light
and color temperature, 3–23
intensity of. See Intensity of light
quality of, 23–25
in diffuse reflection, 68
in internal instrument reflectors, 69
in specular reflection, 66
reflection of. See Reflection of light
Light Array System (Lowel), 99–100
Light meters, 33–37
cadmium sulfide cell, 34
digital, 36f
in lighting ratio determination, 123, 124–125
reflective, 34–36
digital, 35f
selenium cell, 33–34
Lighting & Electronics
compact Fresnel instruments, 217
Lighting kits, 101–104, 117–118, 117f–118f
Lighting ratios, 122–125
determination of, 123, 124–125
in far-side setup, 158
high key, 123
importance of continuity in, 123–124
low key, 123–124
Lighting setups, 153–167
consistency in, 153
in distant locations, equipment checklist for, 278–282
examples and exercises on, 225–256
in exercise video, 247–248, 249f–252f
in interviewer and interviewee, 225–234, 226f–233f
in lone interviewee, 225–234, 226f–233f
in restaurant scenes, 234–247, 235f–239f, 241f–246f
in exterior night scene, 188f
homemade improvements in, 220–224
for motivated lighting, 159–162
priorities in, 153–154
for side-lighting, 162–163, 164f–165f
for wide shots and close-ups, 153–154
Limbo or cameo lighting, 260
Lite Panels LED lights, 83–85, 85f, 86f
Location lighting, 70–87
backlights in, 133
compared to studio lighting, 104, 105–106
complexity of location in, 170
equipment checklist for, 278–282
examples and exercises on, 225–247
in office setting with lone interviewee, 225–234, 226f–233f
in restaurant scenes, 234–247, 235f–239f, 241f–246f
in exterior daylight scenes, 177–185
in exterior night scenes, 185–190
fire alarms and sprinkler systems triggered by, 175
fixed focus instruments in, 83
flood lights in, 74–83
focusing spot lights in, 70–74
insurance coverage in, 170
LED lights in, 83–87
power supply and requirements in, 190–193
site survey on, 169–176
with temporary service, 176, 190–191
tie-in procedure for, 174, 191–193
preparations avoiding potential problems in, 169–176
security issues in, 171
site survey for, 169–176
equipment in, 169–170
procedure in, 170–176
broad flood lights, 75, 76f, 77f
clips and fasteners, 272
homemade improvements using, 221–223, 222f–223f
focusing spot lights, 70–71, 73, 73f, 74f
Light Array System, 99–100
LowelScandles fluorescent light, 100, 100f
as backlight, 133
as key light, 148
in location lighting, 70, 73, 73f, 133
in office environment with lone interviewee, 227, 227f, 232
LowelScandles fluorescent light (Lowel), 100, 100f
LTM Corporation
fiber-optic system, 209–211
Pepper Pot dimming device, 220
Lumens, 2
Luminance, 2
waveform monitor information on, 50
and zebra stripes, 49
Luxor Lighting Corporation fluorescent tubes, 21
M
Makeup area lighting, 21
Matthews Griff Clips, 219
Matting systems, 201–207
Meters, 33–40
color temperature meters, 8, 38–40
light meters, 33–37
Micro Banks (Chimera), 92, 93f
Micro-Flo light (Kino-Flo), 70–71, 95–96, 97f
Micro-Set Lighting system (LTM Corporation), 209–211
Mini-Cool (Cool-Lux), 93–94, 214, 216f
as backlight, 133
dimmer for, 220
operating temperature of, 26
radiation generated by, 26
Mini-Strip (Lighting & Electronics), 63f, 217, 219f
Minolta Color Meter III F, 38
Mixed color temperature, 16–18, 16f–18f, 19–21
Mole-pin connectors (Mole-Richardson), 193, 272
Mole-Richardson Company, 100–101, 101f–103f
2000-watt Fresnel, 146
Digimole HMI PAR light, 100, 101f
Junior light, 131
lighting kits, 104
location equipment, 104
Molelipso lights, 112f
in exercise video, 248
Molepar HMI PAR light, 213f, 234, 235f
Molecool (Mole-Richardson), 211, 212f
Molelipso (Mole-Richardson), 112f
in exercise video, 248
Molepar HMI PAR light (Mole-Richardson), 213f, 234, 235f
Molette (Mole-Richardson), 101, 103f
Monitors
color picture, 41–48
waveform, 48–50
Mood established
with key light, 130
with motivated lighting, 162
Moonlight in exterior night scenes, 185, 186, 187f, 188, 189, 190
Motivated lighting, 159–162
in exterior night scenes, 189
in mini-striplights, 63f, 217, 219f
recent developments in, 214, 217
Multi-lights, 83
N
National Television Systems Committee standards, 6, 8
Near-side lighting setup, 155–156, 158f–159f
Neutral density filters, 272–273
applied to windows, 17–18, 17f–18f, 20
in exterior daylight scenes, 178
in falloff problems, 30
in filter wheel, 10
Newsmatte, 201–207
Night scenes, exterior, 185–190, 187f–188f
and evening effects with colored lights, 148, 149f–150f
moonlight in, 185, 186, 187f, 188, 189, 190
window light in, 189–190
Nineteen hundred box, 273
Noise, and contrast ratio, 121–122
Nooklites (Mole-Richardson), 75–76, 78f, 189
O
Office environment, lighting setup for lone interviewee in, 225–234, 226f–233f
Omni light (Lowel), 133, 136, 145
as backlight, 133
as key light, 148
in location lighting, 70, 73, 73f, 133
Outdoor settings, 177–190
daylight scenes in, 177–185
buildings and large structures affecting, 182–185, 184f–185f
butterfly use in, 55, 56f, 178–180
reflector use in, 180–182, 183f
falloff of light intensity in, 27, 27f
halogen metal iodine PAR lamps in, 214, 215f
night scenes in, 185–190, 187f–188f
and evening effects with colored lights, 148, 149f–150f
quality of light in, 23
P
Paddles, 273
Pancake Lanterns (Chimera), 93, 95f
Pantograph, 273
from Mole-Richardson, 100, 101f, 213f
in multi-lights, 83
recent developments in, 213–214, 215f
The Pelican Brief, 162
Pepper lights (LTM Corporation), 70–71, 72f, 74
Pepper Pot dimming device (LTM Corporation), 220
Photo Dimmer (Cool-Lux), 219–220
Photometrics, 274
Physics of light, 1–31
Pigeon plate, 274
Plants, lighting of, in indoor environment, 230, 232f
Point source light
of carbon arc lamp, 62
quality of, 24
Portraiture setup, key light position in, 130
Power requirements and supply, 169–176, 190–193. See also Electrical system
Practical lights, 274
in exterior night scenes, 189
in motivated lighting, 160
in side-lighting setup, 162, 163
Prism
white light dispersed by, 1–2, 2f, 3
Psycho, 163
Q
Quality of light, 23–25
in diffuse reflection, 68
in internal instrument reflectors, 69
in specular reflection, 66
Quartz-halogen lamps, 58–61, 60f–62f
FAY type, 60–61
operating position of, 59
PAR type, 60–61, 62f. See also PAR lamps
precautions in handling of, 59, 61, 64
R
Radiation
Red light, 3
ratio to blue and green in white light, 7, 8
Reflection of light, 64–70, 274
contrast ratios in, 120–122
exposure ratios in, 126–127
in exterior daylight scenes, 178, 180–182, 183f
meter systems in measurement of, 34–36
quality of light in, 64–70
specular, 66–67, 66f, 67f, 68, 68f
with internal instrument reflectors, 69
types of reflectors for, 64–70
Reflective light meters, 34–36
digital, 35f
Reflector boards, 274
in exterior daylight scenes, 180–182, 183f
Reflectors, 64–70
and contrast ratio, 120–122
and exposure ratios, 126–127
in exterior daylight scenes, 178, 180–182, 183f
external, 66–68
specular, 66–67, 66f, 67f, 68, 68f
of focusing spot lights, 72
internal instrument, 66, 68–70
Restaurant scene, lighting setup for, 234–247, 235f–239f, 241f–246f
Rifa-Lite (Lowel), 92, 99, 99f
in office environment with lone interviewee, 227, 227f, 232
Rim lights, 141
Rosco
blackwrap, 260
Cinefoil, 219
Cycscreen, 220
reflective materials, 181
video filtration media, 39
S
Sand bags and shot bags, 274
Saturation of color, 2
adjustment in color monitor setup procedure, 46–47
vectorscope information on, 50–53
Scissor clamp, drop-ceiling, 267, 267f
for backlight mounting, 133
in falloff problems, 30–31, 30f
Selenium cell light meters, 33–34
Setup of lighting instruments, 153–167. See also Lighting setups
Seven, 162
in background lights, 141–142
in composite lighting, 203
in diffuse illumination, 55
in diffuse reflection, 68
in exterior night scenes, 188, 189
in far-side lighting setup, 157–158
fill light affecting, 131, 132
in focusing spot lights, 72
key light affecting, 129–131
in low-key lighting ratio, 123
in near-side light setup, 155
quality of light affecting, 23, 24
in side-lighting setup, 163
in specular illumination, 55
in specular reflection, 66
Shot bags and sand bags, 274
Side-lighting setups, 162–163, 164f–165f
in matting materials, 205
Sidelights or rim lights, 141
Site survey for location lighting, 169–176
equipment used in, 169–170
procedure in, 170–176
Sliding rod, 274
with head grip, 275f
SMPTE color bars in monitor setup, 42, 43, 45, 45f, 46–47
in multi-lights, 83
Society of Motion Picture and Television Engineers (SMPTE) color bars in monitor setup, 42, 43, 45, 45f, 46–47
Soft cycloramas, 197–200
as key lights, 150
recent developments in, 211, 212f
Spacelite (Mole-Richardson), 100, 102f
Special effects lights, 142–143, 151
Spectra 32 fluorescent tube, 21
Specular illumination, 55
diffuse reflection of, 68
spectral reflection of, 66, 68
Specular reflection, 66–67, 66f, 67f, 68, 68f
with internal instrument reflectors, 69
Spike marks, 275
Spill of light, 275
Spot lights
focusing, 70–74
Sprinkler system concerns in location lighting, 175
Stage box, 275
Stage left, 275
Stage plugs, 275–276
Stepped lens design, 108, 108f
Stewart Ultimatte, 202
Stewart Ultimatte, 202
Sticks or camera tripod, 276
Strand Lighting
Leko design, 113
mini-striplights, 217
Strike, use of term, 276
Striplights, low-voltage mini-striplights, 217, 219f
Studio lighting, 104, 105–118, 195–207
in cycloramas, 195–201
Fresnels in, 106–109
Lekos in, 109–117
in matting systems, 201–207
Sunlight. See Daylight
Survey of location lighting site, 169–176
equipment in, 169–170
procedure in, 170–176
T
Temperature of light source, 3–23. See also Color temperature
Temporary electrical service, 176, 190–191
Tenting technique in specular reflection, 66–67, 67f
Three-point lighting, 133
in office environment with lone interviewee, 228
with rose-gelled background light, 143, 145f–147f
and sunlight, 145–150, 148f–150f
Tie-in equipment and procedure, 174, 191–193
Tiffen neutral density filters, 10
Time of day
and building effects on exterior daylight scenes, 184–185
and evening effects with colored lights, 148, 149f–150f
and key light, 129–130
and location lighting, 177–190
in exterior daylight scenes, 177–185
in exterior night scenes, 185–190
and outdoor color balance, 12–16
and shadows, 129–130
Tint of color, 2
adjustment in color monitor setup procedure, 46–47
vectorscope information on, 50–53
Tota-Light (Lowel), 75, 76f, 133, 189
Travel to distant locations, equipment checklist for, 278–282
Tree stands, 276
Trick Y cable arrangement, 276
Tungsten filament of lamps, 56–58
aging problems in, 57–58
and camera filter wheel position, 9, 12
light and heat generated by, 25
operating temperature of, 4–5
quality of light from, 24–25, 25f
U
Umbrella lighting, 79–81, 82f, 277
Upstage, 277
V
V-Light broad flood light, 75, 77f
Vectorscopes, 14, 15f, 22, 50–53
combined with waveform monitors, 52–53, 52f–53f
display parameters of, 50, 51f
Video Pro Plus Lightbanks (Chimera), 92–93, 94f
Virtual studio sets, 201–202
Visual Departures Flexfill, 181, 182f
in interview lighting setup, 253, 254f
Vita-lite fluorescent tube, 21
Vlahos, Victor and Paul, 201
Voltage
in camera operation, 6
and auto white balance, 7–8
compared to wattage, 173, 174t
at lamp filaments, 8
W
Wall outlets in electrical system, 176, 267–268
compared to voltage, 173, 174t
Waveform monitors, 48–50
color monitors compared to, 41
combined with vectorscopes, 52–53, 52f–53f
flat response mode of, 50
functions of, 48–49
IEEE scale on, 34, 48, 48f, 49
reflective light meters compared to, 35–36
vertical and horizontal rate display modes of, 50
and color temperature, 3–6
in outdoor settings, 12
of infrared and ultraviolet radiation, 4f, 26
White light
balance function of cameras
automatic, 7–8
and black balance circuits, 9, 9f
in outdoor settings, 12–16, 182–184, 190
dispersed by prism, 1–2, 2f, 3
ratio between primary colors in, 7, 8
Winchell, George, 131, 133, 221
Windows
in exterior night scenes, 189–190
and mixed color temperatures in indoor settings, 16–18, 16f–18f
neutral density filters in, 17–18, 17f–18f, 20
and three-point lighting setup, 146
Wire size and ampere capacity, 175, 175t
Work lights, 277
Z
and contrast ratio, 122