Lighting for video cameras
An introduction
in Cue and Cut
Abstract only
Log-in for full text

Lighting Directors are highly skilled people and highly paid. This chapter presents a very basic introduction for the non-specialist. In order to record a pleasing picture, the readers will have to manipulate even ambient light to use it creatively. Sometimes, the best way of disguising a small, moving boom shadow might be to create a larger, static shadow, as though there is a building or tree just out of shot. The chapter relates mainly to locations and is relevant to multi-camera working when the readers are on location with an outside broadcast unit. To a camera that has been white-balanced in daylight, tungsten light tends to look orange; if the camera is balanced for tungsten, daylight tends to look blue. Some understanding of the term 'colour temperature' is essential to anyone dealing with lighting for cameras.

Cue and Cut

A practical approach to working in multi-camera studios

Metrics

All Time Past Year Past 30 Days
Abstract Views 35 35 3
Full Text Views 0 0 0
PDF Downloads 0 0 0