Figure 1-6.
4-point lighting
b. One problem, however, cannot be so easily solved. That is the problem
of shadows cast by the boom microphone. If a boom microphone is going to be
used, careful coordination between the boom operator and lighting technician is
required to ensure that the boom does not cast shadows on the set area that is
"on camera."
11. Special lighting techniques.
Many studio productions require very
specialized lighting in order to set the desired mood or nature of the event.
The four most common special lighting techniques are cameo lighting, limbo or
silhouette lighting, colored background lighting and chroma key lighting.
a. Certain television shows, especially those of a dramatic nature, are
staged in the middle of an empty studio against an unlit background.
This
technique, where only the performers are highlighted against a dark background,
is commonly known as cameo lighting.
(1) All cameo lighting is highly directional and is achieved entirely
with spotlights. In small studios, the background areas are carefully shielded
with black, light-absorbing draperies from any kind of distracting spillage of
light.
(2) Although cameo lighting was a highly effective technique in
monochrome television, it is rather difficult to handle in color. The major
problems are high contrast, dense shadows, and the low baselight levels, all
adverse factors to good color lighting.
However, in certain circumstances,
cameo lighting can be highly effective.
b. The lighting for a silhouette effect is exactly opposite to cameo
lighting.
In silhouette lighting, you light the background but leave the
figures in front unlighted.
Silhouette lighting shows only the contour of
objects and people, but no volume and texture. Obviously, you light only those
scenes in silhouette that gain by emphasizing the contour of things.
(1) You can also use silhouette lighting for concealing the identity of
a person appearing on camera.
9
Previous Page
