Category: Studio Lights Education

The three elements of color

• Hue:

A characteristic of the difference between colors, determined by the dominant wavelength of the colored light.

• Lightless:

how the human eye perceives the lightness of a color.

• Chrome:

the feeling of color purity, so it is also called “saturation”.

The resolution of human eyes to hue is related to the wavelength of light. The sensitivity of human eyes to different color light is different in the whole wavelength range of visible light. Human eyes are most sensitive to the wavelength region of yellow and green light, and human eyes are more comfortable to feel the light of this wavelength.

Color mixing

The law of color mixing

Metamerism: the color of an object is related to the spectral power distribution of the reflected (transmitted) light, but it is not one-to-one correspondence. As a result, many lights with different spectral distribution can also cause the same color sense of human eyes. Metamerism is caused by the low resolution of human eyes. Metamerism makes color matching easier.

Three primary colors: any color light can be obtained by mixing no more than three proper primary colors in a certain proportion. The three primary colors are independent of each other, that is, any primary color cannot be generated by mixing the other two primary colors.

There are three rules of color mixing

• Complementary color law: color a + complementary color of color a = white
• Intermediate color law: any two non complementary color mixture = intermediate color
• Law of substitution: for example: color a = color B; color C = color D

Then: color a + color C = color B + color D

Additive color mixture

Definition: using two or more kinds of color light to synthesize new color light by direct or indirect mixing method.

Color light three primary colors: CIE regulations; red light (700nm), green light (546nm), blue light 435.8nm.

Subtractive color mixture

Definition: according to the characteristics that white light is polychromatic light and pigment selectively absorbs chromatic light, it is a method to use two or more kinds of pigment to absorb different chromatic light in white light, so as to obtain the required color. The three primary colors of pigment, cyan, magenta and yellow, are respectively the complementary colors of the three primary colors of light, red, green and blue.

Mixed method
Comparison item additive subtractive primary shade
Primary colors: red, green, blue, R, G, B, magenta, yellow, cyan, M, Y, C

The relationship between primary colors and chromatogram: each primary color radiates only one spectral area, each primary color absorbs one spectral area and reflects two spectral areas.

The basic law of color change in color mixing:

Red + Green = yellow

Blue + Red = magenta

Green + Blue= cyan

Red + Green + blue = white

Magenta + yellow = red

Magenta + cyan = blue

Yellow + cyan = green

Magenta + Yellow + cyan = black

The brightness of the new color is the sum of the brightness of each mixed light, and the color is saturated. The brightness of the new color is the average value of the brightness of each primary color, and the color is not saturated. When two primary colors are superimposed, the brightness and chromaticity of the new color are reduced.

Color method

1. Color mixing outside visual organs
2. Color mixing within visual organs

• Static color plus color mixing
• Dynamic color adding, mixing, superimposing,
  combining,
  dot forming
  Color measurement and matching of application

The effect of theater lighting on color separation of original manuscript

Cool and warm feeling of light color

Generally speaking, the arrangement of colors from warm to cold is: red, orange, yellow, green, cyan, blue, purple. The warm and cold feeling of colored light is very obvious in forming people’s mood and the atmosphere effect of the background environment. In the design of the background environment, the uniform light distribution of cold color is used to express a dignified and quiet atmosphere; while in the design of the background environment, the uniform light distribution of cold color is used to express a dignified and quiet atmosphere The warm color has a bright, comfortable, warm and pleasant atmosphere, and the effect of color on people’s mood is more obvious. The following are the psychological effects of color to human kind:

Big red — excited, dangerous, angry

Blue — solemn, lonely, deep

Pink — warm, hot

Purple — elegant, mysterious, serious and safe

Orange red — happy, healthy

Blue green — confusion, mystery

Orange – happy, optimistic, bright, comfortable –

Blue purple – dull, dark.

Yellow – bright, gentle, submissive –

Red purple – depression

Green — comfortable, peaceful, leisurely, lively ﹣

White — pure, refreshing ﹣

Dark green – cool

Atmosphere effect of lighting color

The expressive power of various colors is as follows:

Green – can give people fresh, comfortable, quiet and young people’s sense of vitality,

pink – implies maturity, gives people a mild, comfortable atmosphere, white – can show a kind of purity,

Blue – induce people to think in the dark, and infinite breadth of depth, Sky blue – give people a feeling of spring.

Peach – gives the feeling of summer,

golden – gives the feeling of autumn,

silver – gives the feeling of winter.

Emotional effect of light color

Blue green can express deep, calm and serene main characters, yellow environment background can induce happy and happy emotion effect, dark purple can express a kind of sadness and loneliness, dark blue background can induce a kind of sad emotion, light blue feeling is more calm and comfortable, light rose red expression is lively and gives people a happy feeling, dark blue background can induce a kind of sadness and loneliness, light blue feeling is more peaceful and comfortable, light rose red expression is lively and gives people a happy feeling, Red is warm and exciting.

Flexible use of the lighting color in the song and dance hall, combined with the temperament of the performance and actors, to achieve the harmony of all kinds of color and light, can more fully express the artistic conception of the song and dance program, make the guests devote themselves, shorten the psychological distance with the guests, and activate the scene atmosphere of the song and dance hall.

Matching of lighting colors

No matter in the stage, dance hall or studio, the matching of lighting color is very important. The harmony and unity of lighting color is the highest requirement for color art. In order to make the lighting and song and dance show content to be amiable and unified, we must set a kind of tone color in the performance area, and other kinds of color lights should obey this kind of tone color, In addition, it is also necessary to deal with the order of similar color lights and the complementary deployment of similar color lights. The orderly arrangement of similar color lights can achieve a harmonious effect, while the application of complementary color lights can increase the intensity of each other, highlight the contrast, and highlight the content of the performance.

Color application of art lighting

Whether in the field of architectural lighting or stage lighting, the application of lighting color is an important content. The correct use of different lighting colors can achieve unexpected good results; on the contrary, if the color is used improperly, it will bring bad or even bad effects. It can be seen that mastering the application skills of lighting color is a very important condition in decoration and lighting design.

Theoretical research and practical experience have proved that different colors have different physiological stimulation on people, so that people have different psychological feelings on different colors. Here are some examples.

Cold and warm feeling: red and orange give people a warm feeling, blue and purple give people a cold feeling. In addition, white, gray, black and colorless also belong to the category of cold color sense.

Sense of distance and nearness: at night, people feel close to the red light, while I feel far away from the blue light. Room with light blue tone will have a sense of emptiness, if you use warm tone, in addition to giving people a sense of warmth, there is a sense of strictness.

 

Sense of weight: red and orange objects look heavier, while blue and white objects look lighter.

Excitement and calmness: red will make people excited, blue will make people calm.

Appetite enhancement and loss: food in red system can increase appetite, while food in blue system can decrease appetite.

As mentioned earlier, the color of the light source can be expressed by the color temperature. Both theory and practice have proved that the color of light source will give people cold or warm feeling according to its color temperature. Generally, the color temperature greater than 5000K is called cool color, the color temperature between 3300 and 5000K is called intermediate color, the color temperature less than 3300K is called warm color.

Practice has also proved that when the illuminance of light source is different under the same color temperature, people’s feeling is also different. Generally, the light with low color temperature makes people feel happy under low illumination, but it is too exciting under high illumination. The light with high color temperature feels gloomy and dim under low illumination, while it feels pleasant under high illumination.

Therefore, in order to adjust the feeling of cold and warm, the light source opposite to the feeling can be adopted to increase the sense of comfort according to the climate conditions of different regions or environments. For example, in warm or hot areas, it is better to use high color temperature and cold color light source; on the contrary, in cold areas or winter, it is better to use low color and warm color light source.

Now take the high-end hotel as an example to illustrate some examples of color and illumination adjustment. Hotel rooms are mainly rest, should use low illumination and soft light.

In order to create a quiet, comfortable and elegant atmosphere. Considering that the guests need to work or study, add local lighting, such as desk lamp, floor lamp and bedside lamp. It’s better to add up lighting device. The color and shape of the lampshade should also adapt to the atmosphere of the environment. Restaurants and banquet halls need warm colors and higher illuminance. They mostly use light with rich red and yellow components and better color rendering, which can make food color delicious and help to increase appetite.

The cold light source with higher illumination should be used in the ice room and cold drink section. As for cafes, they need to be relaxed, quiet and intimate, which can create a reverie atmosphere. They should use low illumination, or even no electric light, and only light one or two candles on each table. Discos, on the contrary, need strong lighting contrast, a variety of bright colors, plus special effects such as rotation and flicker, to set off an exciting and warm atmosphere. As for offices, meeting rooms, kitchens, laundry rooms, electrical rooms and other places, a large number of low-voltage fluorescent lamps are used. Because these places have no special requirements for color, color rendering and atmosphere, saving electricity is the main focus.

Through in-depth research and analysis, people summarize the effects of seven kinds of monochromatic light (red, orange, yellow, green, cyan, blue, purple) in the visible light on human physiology and psychology, which can be used as a reference for decorative lighting design and other decorative design, product design, logo design and film and television stage lighting design.

 

 

It should be admitted that people with different ages, genders, nationalities, religions, occupations, personalities, tastes, cultural attainments and social experiences may have different feelings, likes and dislikes of colors and their reactions. However, there are still some relatively common rules to follow. Here are some examples.

Red: red is a warm color, it is the most exciting. Red can stimulate and excite nervous system, accelerate blood circulation. But long time exposure to red can make people feel tired. Red reminds people of the sun, red flag, fire and blood. It makes people feel warm, warm, warm, auspicious, energetic, positive and strong. It inspires people and inspires them. But it also reminds people of danger, anger, rudeness, vulgarity and floating bath. As a sign, red usually means fire prevention, stop, prohibition and high danger.

Orange: the effect of orange is similar to that of red. Orange makes people feel bright, energetic, happy and carefree.

Yellow: yellow is a warm color. Give people a noble, bright, cheerful, open, wisdom, bright, soft, active and elegant feeling.

People’s eyes are particularly sensitive to orange and yellow, so orange or yellow is often used as warning color. For example, bright orange and yellow signs often appear on the work clothes of pilots, traffic poli

ce and road cleaners.

Green (cyan): green is the main tone of the forest, full of vitality. It makes people think of green mountains and green waters, beautiful spring and vitality. It symbolizes youth, peace, life, health, eternity, fairness, serenity, tranquility, wisdom and modesty. A green environment is conducive to digestion and sedation, and can promote physical and mental balance. As a sign, green usually means safety, passage, sanitation and environmental protection.

Blue: blue is a very calm color, it can help to eliminate tension, forming elegant, quiet atmosphere. Blue reminds people of blue ocean and blue sky, which makes people feel deep, broad, long, pure, rational, calm, harmonious and peaceful. However, it may also arouse the feelings of darkness, melancholy, poverty, indifference, sadness, mourning and even terror. Therefore, the use of blue, especially dark blue, should be cautious.  

Purple: the effect of purple is similar to that of blue. Purple may be associated with mystery, romance, elegance, nobility, solemnity and luxury. White: white is a cool color, it often makes people think of ice and snow, think of cold, give people elegant, noble, clean, pure, holy, noble, peaceful and bright feeling, but also may make people think of cold, empty, pity, sadness and even terror.

In addition, in the process of using lighting color, we must pay attention to the harmony and unity of color. When designing, we should first set up a basic color matching, and other colors should obey this basic color matching. We should also pay attention to the correct handling of the deployment of similar colors and complementary colors. The so-called similar colors refer to purple and red, purple and blue, green and yellow, etc. they are arranged in an orderly manner and can receive a harmonious effect. The so-called complementary colors refer to red and green, blue and orange, purple and yellow. They complement each other and can enhance each other’s strength.

Design Description

The top light and location of the stage lighting position form a light distribution array, and each part of the stage has a light distribution point to eliminate dead zones and can be combined flexibly on demand.

Top light system design configuration

The function of the top light is to illuminate the performance space in the depth of the stage. The various lamps used in the top light configuration greatly improve the light transmittance, and can be used for stage top lighting or dyeing.

The distribution of configuration lamps is as follows:

Above the stage, there are a total of 20 ceiling light booms. Each top light uses a different number of lamps

1. Arrangement and projection method of lamps:

The first top light and the surface light connect to illuminate the main performance area. Pay attention to the height of the characters when connecting. The first top light can be used as a fixed-point light and special effect lights, and some lights can be selected to enhance the lighting of the fulcrum of the performance area; The road to the tenth road can be projected directly behind the stage, or projected vertically downward, which can enhance the lighting of the stage characters and the scenery space. The front and rear rows of lights are connected to make the stage performance area obtain a more uniform color and brightness.

2. Scanner design configuration

The computer lights are mainly arranged on the overhead light pole above the stage, and the projection angle, brightness, changing pattern, beam size, color and other functions of the lights can be adjusted arbitrarily to ensure that the performance of the computer lights change requirements.

3. Design configuration of light color changer

The color changer installed on part of the lamps plays a role in stage lighting, dyeing, color change, and setting off the plot to achieve colorful effects.

Stage lighting design process

Light

Multi-point lighting and three-dimensional lighting are used at the same time to meet the lighting needs of different performances on the stage. Surface lighting, top lighting, side lighting, backlighting, slap lighting, and flowing light are set.

1) Make two stage face lights directly in front of the stage, which are used as the main light of the stage. The face lights are mainly used to meet the characters’ need to face the light and highlight the character’s expressions, and more vividly outline the performance characteristics of the actors. Because the surface light is far away from the stage, the surface light uses 16 2KW spotlights and 20 2KW return lights produced by our factory; the spotlight has a long projection distance and strong light; the return light has a wide projection angle and a large spot suitable for large areas. The light improves the stage illuminance; and a surface light color changer is installed to change the color of the light to highlight the stage plot scene.

2) Make two overhead lights above the stage to illuminate the top of the characters and part of the scenery. Choose 12 2KW spotlights and 12 2KW soft lights. The spotlight lighting effect is strong to highlight the characteristics of people and objects; the soft light lighting softly restores the essential colors of people and objects; at the same time, coupled with the application of grouping changes in the dimmer, it can produce different lighting effects.

3) The side lights are located on both sides of the stage and are used to depict and suppress the dark shadow areas of the left and right outlines of people and objects. 6 2KW spotlights and 6 2KW return lights are selected. Use the strong spot of the spotlight and the return light to make the outline more prominent and delicate.

4) Two backlights are set behind the top light. A total of 24 1KW PAR beam lights (bottle lights) and 8 2KW return lights are selected to use their strong light to highlight the overall contours of people and objects.

5) In order to make up for the dark side caused by the lack of face light, top light, side light and backlighting to the contours of characters and objects, and to improve the clarity, slap and flowing light are set on the stage. The distance between the slap and the stage is far away. 6 sets of 2KW spotlights and 6 sets of 2KW return lights are selected for about; 8 sets of 2KW return lights are used for mobile light, equipped with mobile brackets that are randomly placed on the left and right sides of the stage to supplement the lighting of each light. In place.

6) In order to reproduce the stage performance truly, stage background lights are set up, and 8 sets of 1250W sky curtain lights and 8 sets of 1250W ground row lights are selected to achieve a uniform background lighting effect.

7) In order to avoid the dull and unremarkable stage performances, some lamps are equipped with professional color changers, and the timely use of the lighting console grouping will make the performance achieve the remarkable effect of both reality and fantasy.

The above lighting system configuration refers to the relevant national industry standards such as JGJ57-2000, GB/14076-93, GYJ45-92, GBTXXX, GB500116-98.

Hanging Machinery　

According to the drawings provided by you, combined with the lighting system, and according to the actual construction situation of your building, the configuration of the hanging equipment is designed as follows:

1) Conference pole 1: Set on the inner side of the platform, used to display the conference slogan and highlight the theme of the conference (it can also play a role in preventing the audience from entering the field of vision over the stage).

2) Stage curtain 1: Located behind the monogram, the curtain has the form of uniform telescoping, stepless speed regulation split, uniform speed split, butterfly curtain, etc. We have chosen the uniform speed split for you The big curtain system; the big curtain is the gateway to the stage and one of the main curtain facilities on the stage. It is mainly used for the opening and closing of the beginning and end of the performance, and is sometimes used as a scene.

3) Stage 1 second act: the main foundation is the same as the big screen, and the electric side-opening second act system is selected; as the main stage curtain, its function is mainly used for the bottom curtain of solo, singing, solo and other performance forms, and In the fragments of various dramas and operas, he uses his opening and closing to replace the scenery and props.

4) One background curtain (sky curtain): types include lifting boom type, string curtain type, fixed type, etc. A fixed backdrop is selected, and the sky screen is used for the transparencies in the performance. In the performance, according to the development of the plot, different sets or scenes can be changed. Under the change of the slideshow, the audience will have an immersive feeling.

5) 5 stage lighting poles: the lighting poles are used to install stage lamps to meet the replacement of lamps during different performances, saving time and effort, and convenient and quick. On the stage, there are 2 top polished poles, 2 backlight poles, and 1 background light pole.

6) Stage side light is very important in stage lighting. Its position is installed in the side light frame and above the left and right sides of the stage.

7) 3 side curtain rods and 3 side curtain rods: used to hang the side curtains. The side curtains are curtains on both sides of the stage. They play a role in covering the audience’s sight on both sides of the stage. The aesthetic design also enhances the audience’s three-dimensional sense of the stage. The curtain is the proscenium of the upper edge of the stage, blocking the audience’s view of the sky above the stage, thus setting off the beauty of the stage.

8) 14 scene bars: the scene bars are used to hang the scene curtain, which is the necessary mechanical equipment (props) for the stage performance. The reasonable use according to the specific situation will make the performance present a vivid effect.

The configuration of the above hanging system is based on: JGJ57-2000, GB/14076-93, GYJ45-92, GBTXXX, GB500116-98, SJ2112XX and other relevant national industry standards.

Stage layout

Taking the framed stage as an example, the stage lighting types are divided into: surface light, slap, top light, column light, side light 1 (bridge light, hanging cage), side light 2 (high current, low current), backlight, sky curtain light (Heaven and Earth Row), bare feet.

Based on people on stage

Surface light: Installed on the top of the stage curtain, the lights on the top of the auditorium are divided into one, two, and three channels. The floor box surface light and the central spotlight at the back have similar functions.

Installation and use: It is mainly used in the performance area at the front of the stage (such as 8-10m behind the curtain line) for character modeling or the three-dimensional effect of objects on the stage.

Equipped with lamps: spotlight, return light;

Side light: lamps on both sides of the auditorium on the upper floor of the theater, light is cast from both sides to the stage performance area

Device and purpose: as supplement light for surface light

Equipped with lamps: same side light;

Slap: Distributed in the slap, installed on the left and right sides of the stage curtain near the stage, the light is cast from the side to the stage performance area.

Installation and use: Similar to the surface light, it is shot from left to right towards the stage, used to enhance the three-dimensional sense of the stage scenery, props and characters.

Equipped with lamps: spotlight, return light;

Top light: The lamps on the top of the stage are generally installed on a liftable hanger. They are mainly used for lighting in the middle and back of the stage. From the stage, they are: one, two, three, and four;

Installation and use: Shoot towards the performance area in the middle and back of the stage, mainly used in occasions where strong lighting from the upper part is required.

Equipped with lamps: spotlight, back light, astigmatism light;

Column light: Installed on the inside of the false proscenium of the stage, cast light from the inside of the promenade to the performance area, which can be divided into one column light and two column lights. Also known as inner ear.

Device and purpose: to make up for the lack of face shine and slap in the face.

Equipped with lamps: low-power concentrating and soft-light lamps;

Foot light: inside the lip of the stage, shooting diagonally upwards towards the actors and the big curtain

Installation and use: To make up for the steep surface light, eliminate the shadow in front of the actors, and cast to the big screen when the curtain closes, changing the color of the big screen.

Equipped with lamps: spotlight;

Side light: On both sides of the stage flyover, shooting from high places on both sides to the stage can be divided into one side light, two side lights, and three side lights. Bridge light

Installation and purpose: auxiliary lighting to illuminate the face of the actor, and to enhance the level of the scene

Equipped with lamps: spotlight;

Skylight: Installed on the top of the sky curtain, specially designed for overhead lighting

Installation and use: Used as a sky screen setting, usually 2-6m away from the sky screen, changing the color and background of the sky screen, divided into one row, two rows, and three rows.

Equipped with lamps: astigmatism, floodlight;

Ground drainage: In front of and below the canopy, special ground drainage ditches are used, and the backlight is directed toward the canopy

Installation and use: 1-2m away from the sky curtain, used to express special effects such as horizon, horizon, and mountain sunrise

Equipped with lamps: astigmatism, floodlight;

Flowing light: Lamps with light stands on both sides of the stage, which can flow at any time

Device and purpose: to enhance the atmosphere, the angle can be adjusted temporarily, the lamp is about 2m high, and the power is generally larger. Illuminate the actors from the side.

Equipped with lamps: spotlight, return light, soft light.

Classification of Stage Lighting

Stage lamps can be divided into three categories according to the optical structure: floodlights, spotlights and slide lights; according to the parts installed on the stage, there are face light, slap light, foot light, column light, top row light, sky row light, ground row light and flow. The division of light. Floodlighting system refers to a lamp that can emit uniform and soft light and can illuminate light in a certain direction. Individual floodlights, top row lights, footlights and curtain lights are generally used to illuminate the sky curtain, painting scenery or performance area. Condensing system refers to lamps that can emit orientation and control the range of light zones. Generally, the principle of refraction is used to project different light spots through the lens. If a threaded soft lens is used, it can produce a soft spot on the edge. A lamp that uses a reflective optical structure to achieve a condensing effect is called a return light. The slide system is to add a group of objective lenses in front of the condensing lamp to make it project light and image. This kind of slides can be divided into: ① projection slides that use slide imaging, ② projection slides that cast clouds, water, fire and other moving images on the scene through a rotating disc chain belt, ③ use long focal length objective lens Make the small spot clear imaging. The follow spot light that highlights the protagonist’s image, ④The elliptical concave mirror is called the modeling light.

The stage lighting control system must be able to effectively control and deploy all lamps and produce a harmonious artistic effect. It consists of three parts: power distribution board, dimmer and main console.

The stage lighting design is mainly based on the script, the director’s requirements and the overall design of the stage art for artistic conception, drawing of lighting design drawings, and specific arrangements for technical reflection. The lighting design should be able to use a variety of modeling methods to adapt to different styles of performances. If some performances require a realistic style, some require the creation of abstract, freehand or metaphorical moods.

Common sense of stage lighting design

Common light positions of stage lighting

If you want to configure professional stage lights, you must first understand the common light positions of stage lights. This is an important part of the correct selection of configuration.

1. Surface light: the light projected from the top of the audience to the stage, the main function is to illuminate the front of the characters and the basic light of the whole stage.
2. Slap: The light that is located on both sides of the proscenium and casts obliquely on the stage. It is divided into upper and lower layers. The main auxiliary surface light is to strengthen the facial lighting and increase the three-dimensional sense of the characters and scenery.
3. Pillar light (also known as side light): The light projected from both sides of the proscenium is mainly used to illuminate the two sides of people or scenery to increase the sense of three-dimensionality and contour.
4. Top light: the light projected from the top of the stage to the stage, from front to back is divided into a row of top lights, two rows of top lights, three rows of top lights… etc. It is mainly used for stage general lighting to enhance stage illumination, and has The fixed-point illumination of many sceneries and props is mainly solved by top light.
5. Backlight: The light projected from the opposite direction of the stage (such as top light, bridge light, etc.) can outline the outline of characters and scenery, enhance the sense of three-dimensionality and transparency, and can also be used as a specific light source.
6. Bridge light: The light projected on the stage at the flyovers on both sides of the stage is mainly used to assist the column light to enhance the three-dimensional feeling, and also used for other light positions that are inconvenient to project. It can also be used as a specific light source.
7. Foot light: The light projected from the platform in front of the stage to the stage, mainly assists in the surface lighting and eliminates the shadows formed by the faces and jaws of the characters illuminated by the high-level surface lighting.
8. Light emission from heaven and earth: the light projected from above and below the sky screen to the sky screen is mainly used for lighting and color changes of the sky screen.
9. Flowing light: On the mobile light stands on both sides of the stage, it mainly assists the bridge light to supplement the light on both sides of the stage or other specific light.
10. Follow the light: The light position needed from the auditorium or other positions is mainly used to track the performance of the actor or highlight a specific light, and also used for the host. It is the close-up pen of the stage art and plays the role of finishing touch.

Common lamps and their characteristics

1. Spotlight: It is one of the most widely used main lights in stage lighting. There are 1KW and 2KW in the market, and 2KW is the most widely used. It illuminates concentrated light, the edge of the light spot is relatively clear, can highlight a part, and can also enlarge the light spot to illuminate an area. As the main light source of the stage, it is often used for surface light, slap light, side light and other light positions.
2. Soft light: The light is soft and well-proportioned, which can highlight a certain part without a hard spot, which is convenient for connecting several lights. Common ones are 0.3KW, 1KW, 2KW, etc. It is mostly used for short distance light positions such as column light and flowing light.
3. Backlight: It is a reflective lamp, which is characterized by hard light quality, high illuminance and long range. It is an economical and efficient strong light lamp. The common ones are mainly 0.5KW, 1KW, 2KW and so on, with 2KW used most.
4. Astigmatism lamp: the light is diffuse, uniform, and has a large projection area. It is divided into sky astigmatism and ground astigmatism. The common ones are 0.5KW, 1KW, 1.25KW, 2KW, etc., which are mostly used for sky screen illumination and can also be used for theater chairman Universal lighting of the table.
5. Modeling lamp: The principle lies between the follow spotlight and the spotlight. It is a special lamp, mainly used for modeling and projection of characters and scenery.
6. Footlight (also called strip light): soft light, wide area. It is mainly used for lighting and coloring to the middle scene and net scene, and can also be used for auxiliary surface lighting at the proscenium position.
7. Beam light (also known as downlight): widely used, such as PAR46, PAR64 and other models. It can be used to illuminate people and sceneries in all directions, or it can be directly installed on the stage, exposed to the audience, forming a light array, for stage decoration and lighting.
8. Projection slides (also called projection slides) and sky curtain effect lights: can form an overall picture on the stage canopy, and various special effects, such as: wind, rain, thunder, electricity, water, fire, smoke, clouds, etc.
9. Computer light: This is a kind of intelligent lamp controlled by DMX512 or RS232 or PMX signal. Its light color, spot and illuminance are better than the above conventional lamps. It is a kind of intelligent lamps developed in recent years, often installed in surface light, For the top light, the back steps of the stage and other positions, the running color, shape, and picture can be programmed. Due to the different power levels, the use on the stage should be different. Generally, low-power computer lights are only suitable for dance halls. On the stage, low-power computer lighting lines and spots are often eliminated by stage spotlights, return lights, etc., so pay special attention to the selection.
10. Follow-up light: It is a stage lighting fixture. It is characterized by high brightness and lens imaging, which can present a clear light spot. By adjusting the focal length, the virtual and real light spots can be changed. There is a movable light bar, which can easily change the color, and the lamp body can rotate freely. There are many varieties in the market, and the way of marking indicators is different. Power-standards such as: 1KW halogen tungsten light source, 1KW dysprosium light source, 1KW metal halide light source, 2KW metal halide light source, etc. There are also follow-up lights based on distance. (Light intensity and illuminance at a specific distance), such as 8-10m follow light, 15-30m follow light, 30-50m follow light, 50-80m follow light, etc., and functionally divided into: mechanical The focus, light barrier, and color change of the follow light are all done manually; the other is a computer follow light, and the focus, light barrier, color change, and color temperature adjustment are all done automatically by pushing and pulling electrical appliances. Be sure to carefully select various indicators.

Stage lighting color changer

The design and promotion of the color changer greatly simplifies the number of stage lamps, reduces the labor intensity of the lighting workers, and also saves the investment amount. Therefore, it is an indispensable device for stage configuration. There are mainly mechanical color changers on the market. There are two types: electric and color changer.

1. Stage mechanical color changer: Its design is simple and the price is low. It was the mainstream product from the 1980s to the mid-1990s, and it is close to being eliminated.
2. Stage computer color changer: It is a new type of color changer, which adopts the international standard DMX-512 signal output, which can be controlled by a dedicated controller or connected to a computer lighting console. It has multiple modes and high precision. , Large capacity, long control distance, etc., has become the mainstream product of the market color changer.

Lighting control equipment

The market dimmers, mainly analog dimmers and digital dimmers, are characterized by:

1. Analog dimmer:

Using analog dimming technology, the output signal is 0-10V one-to-one output. Generally, analog dimmers are simple in design, with fewer controller circuits and poor dimming curves, but the market price is low, and it is easy to learn to master. It is the mainstream product from the late 1970s to the mid-1990s. The common ones are 3, 6, 9, 12, 18, 24, 60, 120, etc. The power of each channel is 8KW, but there are also 2KW, 4KW, etc. The number of small channels is mostly integrated, and the main road The number is a split machine.

2. Digital dimmer:

Using single-chip technology, it is DM512 digital signal. Digital dimming consoles are easy to use (especially for large circuits). Its dimming function, backup function, grouping function, dimming curve, etc. are better than analog dimming consoles, and the performance and price are relatively reasonable, which is very popular with users. The common ones are 12 roads, 36 roads, 72 roads, 120 roads, 240 roads, 1000 roads, etc., each of which is mostly 2KW, 4KW, 6KW, 8KW, etc. After understanding the position of the lamp, the characteristics of the lamp, the control equipment and the color changer, you can design the correct use plan according to the respective characteristics, the size of the use, the complexity of the lamp and the local conditions.

Stage lighting design

Design Principles

The stage lighting system design is configured in accordance with the rules and special use requirements of stage art performances. The purpose is to design and configure the lighting technology equipment required for the reproduction process of various performing arts according to the system engineering, so that the stage lighting system is accurate and complete. The land serves the art exhibition.

1. Create a complete stage lighting free space to meet all lighting requirements;
2. In order to ensure the continuous operation of the system, appropriately increase reserves and expansion space;
3. The anti-interference ability and security of the system are important design indicators;
4. New high-efficiency energy-saving cold light lamps are introduced into the system design;
5. DMX512 digital signal network technology is introduced into all aspects of system design.

Process requirements

1. The process design and equipment configuration of the system have the function of using a comprehensive theater, which can rotate the lighting operation schemes of a variety of different theaters in a short time.
2. The system design can be quickly converted from one lighting scheme to another, and the conversion time is completed within 2 hours.
3. The system allows the use of all types of lamps and other supplementary equipment.
4. The system is designed with sufficient security and storage capacity. The entire system performs continuous diagnostic checks on the main console without interrupting the main power supply.
5. The equipment in the system fully meets the technical requirements of stage background noise. In the empty field, the noise of all lighting equipment when turned on and the interference of external environmental noise are not higher than NR25, and the noise of the 1M effect equipment at the test point is not more than 30dB.
6. The expansion capacity of the system is reserved deliberately at the beginning of the system design, such as power silicon control capacity and network capacity. After sufficient funds or new technologies appear in the future, the system will not be modified or updated on a large scale due to insufficient design to achieve savings. Funds and rapid adaptation to changing needs.

Brief Introduction

Using stage lighting equipment (such as lighting fixtures, slides, control systems, etc.) and technical means, with the development of the plot, use light color and its changes to display the environment and render the atmosphere, highlight the central character, and create a sense of space and time on the stage. Shape the external image of the stage performance and provide necessary lighting effects (such as wind, rain, clouds, water, lightning).

Stage lighting is an important part of the performance space. According to the development of the plot, it carries out a full range of visual environment lighting design for the characters and the required specific scenes, and purposefully reproduces the design intent to the audience’s artistic creation in a visual image. The spatial modeling of characters and plots should be considered comprehensively and systematically, the rules of modeling should be strictly followed, and methods should be used.

Key Points of Stage lighting

Shaping the character and creative description

A), contour backlight

1. B) Psychological description-dialogue, monologue, memories, hope, fantasy
2. C) Creative description-concrete, abstract, realistic, non-realistic

Stage space-time environment

1. A) The performance of the space environment–
2. B) Performance of time environment–
3. C) The performance of the seasonal environment–
4. D) Performance of other environments–

Grasp the relationship between stage atmosphere

1. A) Brightness relationship-the formulation of brightness / perspective / the bright one takes the front, the dark one retreats / light and dark contrast control / high-key-emphasize the key point / low-key-the effect is significant
2. B) Color relationship-reality / decoration / saturation / color temperature / primary color contrast-color contrast
3. C) Space-time relationship-time color change/light zone space change/perspective/distance
4. D) Observation relationship-emotional communication/psychological resonance
5. E) Formal relationship-natural/exaggerated/abstract
6. F) Aesthetic relationship-creation with performance and aesthetic standards and / performance effect / quality
7. G) Subjective and objective relationship-conception of subjective performance plot; objective reproduction of the space composition of performance lights
8. H) Primary and secondary relationship-key and non-key people, the effect of people and scenery-people and scenery; emphasizing key points-weakening non-key points, local fulcrum-overall performance area
9. I) Situational relationship-the same scene can produce the light effects of different lights, so that there is emotion in the scene; there is scene in the emotion
10. J) Creative vocabulary relationship-independent creativity; closely related to the plot; lighting composition effects of continuous pictures

Technical support and implementation

1. A) Visual characteristics-phototaxis/adaptability/fatigue
2. B) Appropriate brightness-theater and auditorium size/appreciation distance/content scene requirements/projection distance/projection area/power/light efficiency utilization
3. C) Combination of light fixtures–utilization of lamp performance/multi-lamp arrangement/sharing of lamp combination/fixed-point light/single lamp special lamp/application of effect equipment
4. D) Lighting effect-projection angle-projection direction / light zone combination connection / concealed way of lamps and lanterns-exposure way
5. E) Control and operation-dimming-change the voltage / time and space conversion / change timing-lines-body shape-tune-sound effects / programming, operation, management.

The Development Process of Stage Lighting

Early dramas had a history of open-air or semi-open-air performances, all using daylight as a light source. But as performance venues moved indoors or performed at night, stage lighting began to appear. According to written records, after 1102, Bianliang in the Northern Song Dynasty of China performed “Hundred Operas” every Lantern Festival. Zhang Yu, internal combustion rafters, this is the beginning of Chinese artificial light sources. In Europe in the 16th century, if performances were performed outdoors at night, resin-impregnated ropes were used to make camp lights as light sources. Between the 15th and 16th centuries, Italian decorators conducted experiments on color lighting.

At the beginning of the 17th century, Italians did various experiments to control the sudden dimming of lights in performances. In French classicism performances, there have also been attempts to express the changes in day and night time. Since the 18th century, it has become a common practice to turn off the audience lights and leave only the stage lights during performances. When the opera “Jeo” was performed in the Dresden Theater in 1755, as many as 8,000 candles were lit on the stage.

Since the 19th century, light sources have changed rapidly. In 1808, the Lyceum Theatre in London first used gas lamps. Because the gas lamp can be uniformly controlled by pipelines and can have brightness changes, it can be promoted. British H. Drummont invented the lime lamp, which can produce light colors similar to daylight or moonlight on the stage. In 1870, Britain used a lime lamp as a follow-up light, and then painted on the glass cover of the lime lamp to obtain a color light effect. In 1846, the Paris Opera House used arc light source for the first time, and then used arc light to produce colored silk filters and created a stage image with 5 continuous light changes to express the whole process from sunset to sunrise.

At the beginning of the 20th century, after the advent of the tungsten filament bulb, it provided the stage with a concentrated spotlight, and provided favorable conditions for the performance of the stage space and the creation of the stage atmosphere. The invention of the dimmer, the unified management of the lighting system and the use of color filters have enhanced the expressive power of stage lighting. In 1920, the Italian M. Fortuni designed a soft light reflection system, using the arc light source reflected from the silk fabric to mimic the light color of nature to express the illusion of the sky.

At the beginning of the 20th century, Swiss stage artist A. Appia and British director and stage artist Gordon Gray successively put forward the theory of lighting art modeling, requiring lighting to express a sense of visual sculpture, music, and movement and rhythm in the stage space. . Practice has proved that it has opened up a broad world for lighting art. In modernist performances, both futuristic and expressionist performances attach great importance to the role of stage lighting.

For example, the use of flashing lights to create a turbulent stage atmosphere; the use of cut light instead of closing the curtain to create montage scenes on the stage, etc. In the 1920s, the German director E. Piscato first used film techniques on stage. In the mid-1950s, Czechoslovakian stage artist J. Svoboda created multi-screen, multi-level and multi-angle projection technology and different lighting shaping technologies, which enriched the modeling language of stage lighting and promoted the further development of lighting art development.

 

After the Song Dynasty in China, artificial lighting has been used on the stage. There are written records in Zhang Dai’s “Tao An Dream Recollection” in the Qing Dynasty. The colored lights also began in the Song Dynasty. Liu Huiji used lighting changes when performing “Tang Ming Emperor’s Tour to the Moon Palace”. In the late Qing Dynasty, both the palace and the folks performed “Leng Cai Opera”.

On the birthday of Cixi in the tenth year of Guangxu (1884), 448 candles were used in one performance, and the folk performance “The Cowherd and the Weaver Girl” also used many magpie lamps. After the Revolution of 1911, Chinese theaters generally used steam or electric lights for lighting. From 1933 in Shanghai staged “Roar, China!” “Since then, stage concentrating and projection systems have been established on the Chinese stage. After 1954, a number of theaters conforming to international standards have been built, China’s own stage lighting series have been introduced and established, and China’s unique slide show art has been developed.

The function of stage lighting

Features:

① Make the stage picture clearer: enable the audience to see clearly or some corners of the stage are not visible to the audience (presentity).

②Strengthen the effect of stage performance: meet the needs of the plot, make the background appear natural, set off, suggest and induce the development of the plot, and adjust the atmosphere (actors, audience).

Principles of using stage lighting:

①Intensity (referring to the brightness of the light): There must be enough light so that the audience can see the color, appearance and details.

②Distribution: Including the distribution of light usage and the direction of shooting to the stage, the main body must be obviously different from the supporting role and the background (color) and brightness can be distinguished.

③Color: Relying on colored paper, computer toning and other methods to meet the needs of the plot.

④Change: Change the color, brightness and movement of the light according to the needs of the plot. In the specific use of stage lighting, before reducing a certain light source, preparations should be made to enhance the next light source, except for the special needs of the plot. Avoid black sounds, so as not to affect the work of the cast and crew.

The role of stage lighting

The role of stage lighting in modern stage performances:

①Lighting performance, so that the audience can see the performance of the actors and the image of the scenery clearly,

②Guide the audience’s sight,

③Shaping the image of characters, emphasizing emotions and showing stage illusions,

④Create the space environment needed in the play,

⑤To render the atmosphere in the play,

⑥ Show the transformation of time and space, highlight the conflicts of drama and strengthen the rhythm of the stage, enrich the artistic appeal, and sometimes cooperate with the stage special effects.

The stage lighting of the modern stage play “Dawei House” built by Shenzhen Meiya Culture Media has greater plasticity and controllability in the intensity, color, distribution of the lighting area, and the movement of the light during the performance. The artistic effect of stage lighting is shown as the performance progresses and the stage atmosphere changes constantly.

Key Points of TV Lighting Design

Unfortunately, when the camera’s range exceeds the line of sight of the edge of the auditorium, the black side screen will be shot in. Sometimes, seats are placed on the stage where they don’t need to be illuminated, such as those above the stage. The close-up lens requires the fineness of the light and provides opportunities. Many small details can be clearly seen from a short distance, but not from a long distance. Many problems need to be solved by the lighting engineer.

The reason why the bridge of nose is too bright, the side light is too harsh and the shadow is too solid is that the luminous area of the light source commonly used in the theater is too small, which is different from the large area soft light source with reflective characteristics used in making movies. In addition, we have to pay attention to the design of the actor’s eye light. When shooting “the story of winter” by Brana company, Neil Austin’s writer and famous photographer Brett Brett were employed.

Ember used a symmetrical two-sided light about one person tall. This allows the actor to stand out from the environment. But when shooting close-up shots, the actor will appear flat and have strange shadows under his nose. Sometimes, just fine tune to reduce the uniformity of illumination on both sides and add a little front light to get the normal picture. At the same time, Brett noticed that because the camera can only work in 2D mode, it is necessary to design a suitable backlight for the actors to make the picture more hierarchical, but the backlight can not shine on the nose, and the generated shadow can not enter the lens, so as to ensure that it is not too dark.

This kind of days of repeatedly adjusting lights can sometimes make people feel boring. Theater staff adapt to the fast pace of work in the theater. The repeated work of dimming, checking the camera, dimming, mobilizing the actors, dimming, recording the camera parameters, and mobilizing the actors is boring. However, this kind of work also has an attractive side, it can let the lighting engineer to watch these familiar performances from a new perspective, to design a lot of lighting scenes, to do a lot of stage settings, will feel that time is always not enough. Therefore, we must do it step by step according to our own design scheme, so as not to make mistakes and affect the recording.

Recording and adjustment of lighting

According to the requirements of live television, the second day after the light was readjusted, the spare tape of the program was recorded. The actors and live audience of the first performance took the lead in appreciating the light after the rearrangement. From then on, it is necessary to record the camera parameters during the full seat rehearsal. The director, director assistant, cameraman, director, stage mechanic, etc. will walk the stage before the live broadcast. Recording in advance is to prevent satellite from stopping connection during live broadcasting caused by connection failure or some other technical failure.

After recording, the video is usually replayed in the cinema, which enables the lighting engineer to watch the whole play at a time instead of watching it scene by scene. Of course, in general, there is also a relationship between the two. Watching the video helps to solve some of the lighting problems that have been found on the day of the live broadcast. Usually, it also makes the process of feeling messy clearer. Theater lighting usually has a certain rhythm and regularity, and it also needs to guide the audience’s line of sight, which may not be the same as the effect on the camera.

The program of running lights with precise timing may not appear in the close-up lens, but occasionally a part of the camera will be captured when the camera is moving, and the same effect may be obtained when the lens is switched. The fade in and fade out time of light should be adjusted accurately to facilitate the camera to perceive the change of light, and the light in point also needs to be fine tuned. The dark ups and downs at the beginning and end of the performance are also a challenge, because many directors are afraid to make the audience stare at a dark screen for too long.

The common solution is to use special lights to illuminate the audience at the beginning of the performance, and quickly increase the brightness of these lights at the end, but the recording of TV programs will be different.

When the world tour starts, the same show will still have a large audience. After the broadcast of the publicity video, the performance started immediately. The lighting engineer is in the lighting control room of the theater, with two earphones, which are used to listen to the instructions of the guidance control room and control the lighting changes of real-time performance. A monitor and a switch are used to switch the camera of each stand. There is usually a lighting performance list, which is marked with lens number, exposure value and some important moments to remind engineers to keep focused.

For example, remind them to be ready to adjust the camera exposure value, in this process or rely on their expertise professional skills. A good lighting programmer can still contribute to the scene. When the actor has some unexpected situations or captures some bad scenes, and some clothes are not suitable, he can quickly make slight adjustments, but he must ensure that the previous scene is recorded normally, which requires a transition scene. Like any night’s physical performance, this is a live broadcast, which can’t be stopped after it starts, and it’s impossible to record it again.

Adapting the camera to the light

For the live broadcast, the end of the live broadcast is equal to the completion of the performance, because all subsequent broadcasts will use this video as the broadcast material. The TV station will take it directly and completely: the lighting production team of the theater has to ensure that the previous performance is restored (although the user has made a separate video play list in the main video file, he may still want to get a different performance file, so that the two versions can be compared; and there may be no need to modify those positions and color elements

The change of clothing was adjusted again. For a movie, just in case you need to save the performance video file, you need to record the work content. Bruno Pat, the lighting designer of the film Miss Saigon, points out that there is a lack of continuity between the scenes of the continuous performance and the cut scenes in the film. Performance brochures with long performance cycles often change, especially when new actors join or tour, they need to be re recorded. “What you see through the camera is never the same as what you see with the human eye.”. Bernie Davis concluded, “but generally both can be accepted through constant adjustment, so we can watch the picture on the monitor with new ideas. There are many reasons for us to change the camera parameters. We just need to make a discussion about whether to keep these changes on the stage in the future. Don’t simply think that the process of rearranging the lights will make it worse. ” He added: “maybe half of my job depends on the camera, but I’ll adapt the camera to the light instead of setting it up and adjusting the light to fit it.” Michael FEL cautions: try to keep the original level when revising. To be practical, only revise the parts that need to be modified. The lighting engineer is the one who knows the performance best. He boldly suggests that adjusting the camera angle may get a better picture, and highlight those important moments that need special performance.

The world is really fascinating, especially when the lighting engineer sees the dancing light and shadow on the screen, and the lighting art becomes the film and television technology. From the perspective of the audience and actors, it is also particularly meaningful to use close-up shots to capture the actors’ inner feelings.

Heart, rather than the traditional sense of a group of actors performing on the stage. Critic Peter Bradshaw saw the first broadcast performance of Romeo and Juliet by the Brana company in the theater and the second in the cinema. He thinks the difference between the two is worth remembering.

No matter what views we hold on the advantages and disadvantages of TV broadcasting, it seems that there are more and more TV performances. As long as there are good partners, lighters need not worry about this form of performance. As a kind of resource and reward, this kind of form can make lighting design works long-term preservation in the TV archive. That’s why it’s worthwhile for lighting engineers to do a good job. Even if you spend more money, you can’t just take a camera and record it on stage (and finally, don’t forget to light up the audience and the theater and make them look great when taking pictures before and after the show).

Brief Introduction

In the past, performances in the theater could only be viewed in the theater, especially the artistic creation of lighting. Once the performance ended, it could only stay in the minds of the audience, and at most there would be a few pictures left.

Now, great changes have taken place in theater performances, mainly due to the impact of electronic media works and live broadcast. Electronic media works are shot and distributed in the form of digital or DVD, and live broadcasting can be seen everywhere. The live broadcasting in various places is mainly led by the national live broadcasting programs, and the United States is mainly led by the metropolitan theater. The live shows are very interesting.

The performances are recorded in real time by multiple stations, transmitted to national theaters in real time through satellite technology for releasing movies, and then relayed to theaters around the world according to the local time. At the beginning, people worried that this would reduce the demand for tickets for physical performances. At present, these worries are superfluous. Now people can watch the whole performance at one time instead of being limited to the whole performance cycle.

Interestingly, as a lighting engineer, he can be praised by friends who watch TV programs on the spot. This is the welfare of television. However, what is worrying is what the lighting effect will be like after the broadcast? What is the result of the picture entering the camera after photoelectric conversion, satellite transmission and video playback equipment?

The difference between the demand of TV lighting and the demand of live audience

It’s a challenge for many stage lighting designers who don’t understand, neither do they have any experience. Therefore, the first thing to do well in TV lighting is to have people who understand these technologies, such as TV lighting designer or visual effects director. Especially when the stage lighting engineer is not at the scene due to other work, there will be a kind of uneasy feeling when handing over the work in this way, and the people in the program group will also have worries.

In terms of TV lighting, Mike Le Fevre is a veteran who has done many national live shows and made some performances of the Royal Opera House into films and TV. He is very clear that the first task for him to take over a play is to contact the TV lighting engineer to have a meeting (or dinner together) to discuss the requirements of the play for lighting, so as to formulate a lighting design scheme in line with the plot. But the most important thing is to gain the trust of the crew leader, so that they feel that the work will go smoothly. Because some TV producers don’t like the lighting engineers in traditional theaters. They hope that they can shoot the performance well without spending any time and money to adjust the lighting. In fact, this is totally different. Once this happens, it usually will not lead to good results.

Michael Faire and Bernie Davis are experienced in the field of television lighting. They said that the focus of the preliminary study is how to adjust the lighting, how to solve the huge difference between the TV lighting demand and the audience’s performance, and how much it costs.

Bernie Davis put forward three practical ideas on this issue: first, the camera is a low contrast device, which can process both under exposed and over exposed images, but it can’t process two kinds of images at the same time. In addition, the photographer won’t hear the audience leaving the Royal Opera House say, “the performance is wonderful, the actors are wonderful, but I think the lighting has some problems. Finally, the filmmaker will never hear an audience coming out of the theater say, “I know it looks bad, but it’s better to watch it at the Royal Opera House in Covent Garden.”. What is emphasized here is whether the managers tell the audience of these TV theaters that they are looking at something different. Obviously, some have said it and some have not. Maybe they mentioned it to the actors.

Key points of TV lighting design

In this case, how should lighting engineers cope with these changes? Try to achieve the consistency between the shots, that is, it is similar to using a single machine to record the whole performance. Especially for the director and lighting engineer who want to record a single shot of a performance, they must make a recording script and shooting program.

In the interval of discussing the script with the director, the lighting engineer will get some dimming time. Ideally, the provided broadcast level cameras and high-quality, accurate setting and high-definition monitors (OLED in ideal case) can be used to adjust the lighting when walking on the stage. When the lighting engineer has nothing to do, it is very important to have a programmer with traditional lighting on site. He not only knows how to program, but also can make changes quickly.

It is also necessary to have a standard design manual on site, which is conducive to the better combination of video recording and lighting programming, which is part of the performance planning. It is also particularly important that the on-site staff will use gray cards for accurate exposure test, wear specific performance costumes, and the skin color of the testers is similar to the actual actors.

In the TV production scene, it is mainly to control the light ratio to ensure the accurate exposure of the camera, so that the performance t is separated from the background, and the brightness is moderate. For example, In Deep Blue, the background wall is made of translucent gauze, and Mike and lighting designer Hall make this transparency visible in the camera by increasing the illumination of the sky light. By adjusting all kinds of parameters, they let the camera capture the signal with high signal-to-noise ratio, get enough illumination to obtain the appropriate depth of field, and let the photographer fix the focus section in special cases.

The tracking light needs to operate in low illumination (some nd filters can be added), and the setting is a little loose. It can be adjusted at any time in a long distance to prevent sudden decrease of brightness. Color balance must be paid attention to when using multi light source mixed performance. Although the lighting engineer may think that light blue in S4 LEDs has been matched with VIPs, the camera will tell the difference quickly and directly. The dark color beyond the color gamut of the camera needs to be corrected. The pre recorded tapes and session samples are helpful to find out the existing problems, so that we can get enough time to solve these problems.

LED lamps work reliably, but it is easy to cause flicker in the camera, which is a common sense. The driver without such problems is the most ideal, but usually it is not specially specified, because it is expensive, and the live program is determined after the selection. In addition, the sky screen lighting is very uniform to the human eye, but it is not ideal to see through the camera. Any folds on the screen seen on the monitor will drive you crazy.

Through this mission, theater staff learned a lot of experience. First of all, most of the work is done by looking at the monitor rather than staring at the stage. Second, in addition to adjusting the lighting, there are many ways to improve the image quality. Some of these methods are very familiar to every photographer, such as aperture; others may be unfamiliar, such as gain adjustment, white balance adjustment, gamma curve adjustment, adjust the matrix, etc.

When the screen looks dull on the monitor, it is important to cooperate with the relevant technical personnel, who will tell the lighting engineer how to deal with it. Third, the camera reduces the task of the theater lighting engineer, no longer need to consider the viewing position of the audience, now it is completed by the camera. In addition, there are some new issues that need attention. For example, the directors of TV programs and movies will switch shots at any time, and the panoramic, mid shot and close-up shots of TV programs and movies are set and recorded separately.

Therefore, it is necessary to understand the relationship between the seat and the light position. The position of the front side of the stage is similar to that of the low front side light, which means that the lens is shot directly along a straight line under the light, and the actors will appear flat and have no three-dimensional feeling in this kind of lens. The audience can still remember that this was a prominent problem when shooting “deep blue”. Finally, this problem was solved by adjusting the seats and reducing the shooting range of the stage. Throughout the whole stage, the shooting position usually ends with the shooting of characters to avoid the black side screen into the lens.

Photography is the art of light, this sentence. But the question is how to utilize the film lights properly to achieve the best results? From the photographer’s perspective, in a sense, is the use of studio light. Instead of long pontificate how to use up, how to talk about how to enjoy a photographic works of light application will be faster. It is important that in everyone to play photography, if not formal photography professional out, perhaps in the study of photography will be more confused, I personally think, or to lay a good foundation, although the photography is still to shoot the main, but no basis for the blind shoot is also a waste of time. So I am bored to write so many may have some boring theory, I believe that if you and I have no idea of photography, the patience to read this article, and then go back to their own film-must practice to their own results-I think it will certainly help. First of all, I think need to master three basic, one is photography on the classification of light, the second is hard light and soft light, the third is three point cloth light method.

Classification of film lights

According to the famous photography magazine that our photographers admired, it was divided into four categories. I simplified him and classified it into three types. In natural light, there is only one light source, the sun. Then there are sunny days, cloudy, cloudy, rain, snow and so on, which affect the sun’s rays on the ground. Then the moonlight is considered natural light, but I personally think that for portrait photography, only the portrait of the daylight seems to have no “moonlight portrait”. Ambient light, indoor and outdoor lighting, other than the light produced by the sun, such as indoor lighting, outdoor neon lights, street lights, and even searchlights, as long as it is artificial, glowing, but not for photography-specific lighting The light belongs to ambient light: artificial light, which is the light produced by photography equipment. The difference between him and ambient light is that artificial light can be controlled by the photographer. Such as flash, led shooting lights and so on. How to appreciate the first portrait photography, you have to shoot the three-dimensional. How to represent a three-dimensional thing in a flat photo – Everyone has learned how to sketch. If you represent a geometry, you must have five major tune–light tone, gray tone, light and shade, reflection, and projection. In short, it is through the presentation of bright and dark surfaces to achieve a characterization of a geometry, photography is the same, what is the person’s bright and dark side, or how to make people produce bright and dark side, which is what we say The “light and shadow” – of course, PS can draw light and shadow, you can not make it out of light and shadow, but I think this is not our photographer’s direction.

When we return to three types of light, we must first pay attention to the direction of the light. So when a photographer goes to a place and shoots portraits, they first need to look at the light, what light they have, and from what direction. Because we all know that when I shoot people, I usually have to make my face clear. How do you show light and shadow? The face cannot be black. Therefore, people are generally placed in a place that can be fully exposed to light, that is, light. The same is true in the interior. For example, a spotlight shot down a beam of light. I had to find a good position for my model and let her face fully receive light. However, taking photos is not only about shooting people’s faces, but it is sometimes necessary to consider composition. I would like to make a choice between the front and back views, and the position of the model in the screen should be adjusted. At this time, it may appear that in the picture is beautiful, but it is not light. Or the light is OK, but the position in the picture is very strange. Then we have to use the third type of light – artificial light. Briefly summarize the basic idea of lighting for general portraits.

Give priority to natural light, ambient light, and then make use of artificial light to fill light, but it’s not finished yet. If everyone reads this thing in front of me and then happily takes their own camera and flash, they look for a girl and then send it. Appreciate online for everyone. So the complete sentence is given priority to natural light, ambient light, and then use artificial light to fill light. Then, in the case of using the roof flash, the subject should try not to face up with the top flash, but to the side. This is because when an experienced photographer holds the top of the camera and shoots on the camera, it will be called the side of the subject. It is to give him an angle to produce light and shadow effects. – This also explains why it is best to use off-cameras for the sake of us. If you agree with the above points of view and practice, you have already transitioned from a photography enthusiast who won’t use a light to a photography enthusiast who is willing to use a light. You won’t agree with the idea of taking pictures during the day without lights, and maybe In addition to the body and lens, you will include the lights in your “buy, buy, and buy” list. However, this is just an introduction! See here, many students may start to search for various flash devices and flash. Suddenly, a responsive student asked if I could use a flashlight – I was the classmate long ago.

Now let’s talk about artificial light: the characteristics of a photographic light First of all, the lights currently used in photography on the market include LED lights, hot shoe flashes, and studio flashes. These lamps have higher brightness, more accurate color temperature, and relatively uniform effective illumination range than ordinary indoor lighting lamps. The flash is brighter than the LED. The studio flash has more power than the hot shoe flash. The light quality of the flash is better than that of the normal light. In other words, the flashlight is weakly explosive. But a flashlight is also a small prop that a photographer can take with him. He can assist in focusing on dark nights with dark fingers, but he can also play with light paintings and scare people.

Flashlight application

Next we talk about hard light and soft light. When you happily bought the flash unit according to what I said, I found my sister and took a flash of a three-dimensional portrait with the camera. The Master appeared again, again in three words: the light was too hard. What is hard light, corresponding to it, what is soft light? Let’s come to events, make a shadow game, be an eagle, be a dog, and play. Open a table lamp first, put it against the wall, and then you put your hand out, do a variety of shapes. But you found it was not. You have to get closer to the wall to get a clear shadow. If you lean a little toward the light, you will find that the shadow you projected on the wall becomes empty. why? Because although light travels in a straight line, an unconstrained light source emits light in any direction and then refracts through an indoor wall-roof tabletop into your projected area. If your hand is farther away from the wall, then there will be more.

The ray of refraction enters the area where you project, making the originally well-defined projection appear as a transition from dark to bright. Hard light produces a sharp shadow, soft light produces a transitional shadow. Of course, this is not to say that hard light is not good. Use soft light. Okay, now how to appreciate toughness and appreciate portraiture photography. Second: The expressiveness of light and shadow. Hard-lit portraits often play an accentuating role. For example, a bodybuilder must use hard light to show his muscles and stiffness. Feelings, or the elderly, prominent wrinkles, reflecting the vicissitudes of life; soft light shooting portraits, often play a beautiful effect, of course, there are many skin problems that women are concerned about, wrinkles problems – so, shooting portraits with soft light is really more . Now I believe that many people are already eager to find a girl and then use the soft light to shoot the beauty of the United States, but how do we get soft light? Back to the previous one, review the basic idea of the use of light, give priority to the natural light , Ambient light, and then use artificial light to fill light.

When we compare the shadow games just now, it is not difficult to draw conclusions. It is near the light, easy to soft light, close to the wall, easy to hard light. If we are in natural light, we cannot be near the sun. Then is it natural light that cannot be softened? At this time, they appeared thick and told you that it was not okay to shoot light outside at noon. It was only in the afternoon. Many people may have heard this saying, “It’s the best light at 2 or 3 o’clock in the afternoon.” So although they are all right, they are half-emphasized, so I call them “evil old What is the difference between the sunshine of the noon and the sunshine in the afternoon? More than a cloud! OK, we continue the shadow game. It was followed by the lamp, the hand, and the shadow on the wall. We now make sure that the shadows on the walls are clear – this is the hard light. Then, cover the table lamp with a white cloth. No? paper napkin! No hands? Then we use one hand to do the action. We hold a napkin in one hand and cover the table lamp. Then you discovered two things. First, dimmed. Then, did the shadow on the wall become soft? Cloud, the “napkin” in your hand, and then pay attention to a detail that is the area where the original lamp shines. After covering the napkin, does the area of light increase? Similarly, when there is a large cloud between the sun and the subject, does the area of light increase? Therefore, the way to soften the light, in addition to close to the light source, increase the light emitting area can also achieve the effect, of course, will reduce the brightness – then you need to increase the exposure?

Okay, next, I want to tell you that if you understand everything I said before, then I started to teach you. I believe that everyone should have the opportunity to see a lot of professional photographers working on the scene, often there is a lamp of the boss, the lamp caps a white “cloth box”. Through my explanation before, do you see the doorway? It is the same as our previous shadow game. It is a lamp that is covered with a napkin. So this fabric box is called “soft box”. Increase the flashing light area, so as to achieve the effect of softening the light. First, you should give yourself a flash, a flash, and a softbox. Second, you know that when you shoot for sister, you need to use soft light, and then you need to use a little angle. She looks three-dimensional, and those professional-looking photo lights are actually the sun and the clouds – lights + light effects accessories. Of course, we must go to practice. However, even after fully understanding the above points, and then practicing it in person, I believe that everyone will find that how can I shoot less beautiful than those in advertisements and magazines?

Three-point lighting method

In fact, the history of the three-point light is very long, and the big point that is being pulled is the theory that has been passed down by artists since they were passed down to human perception of natural light for centuries, but I can tell everyone that this “three-point lighting method” “Not just for photography, but also for movies, painting, lighting design, and so on. Of course, this theory is very simple to introduce: it is divided into three kinds of light into the subject: 1. key light; 2. fill light; 3. background light I extend it here, in some foreign teaching video A kicker light is also mentioned, which is to highlight some special areas, such as human hair, which will also be called “light.” Why does it take such a complex light to take a photo? One of the core ideas is to use light and shadow to make the photos of the plane visually layered and three-dimensional. No matter what light is used or what themes are taken, it is important to remember this sentence and do it well. The work is also on a level. I directly extract the definition: The first point of light, called the main light, defines the direction, angle, and range, and specifies the illumination axis and the illumination angle. Plays the main shape and determines the role of light and shade. The second point light, called the secondary light (also known as auxiliary light), plays the role of assisting the unlit area of the main light and adjusts the light ratio by the secondary light, softening the shadow formed by the main light. The third point of light, known as backlighting (also known as profile light), is completed after the first two degrees of light are completed, and the object needs to be separated from the environment to create a depth and level. We should pay attention to the definition of auxiliary light, review the methods we mentioned earlier, and get soft light: approach the light source or increase the area of the light source.

Now we see that there is a third way. Using auxiliary light, we now re-reconstruct it. How do we get a soft light? First: Near the light source Second: Increase the light source area Third: When using the auxiliary light but using the auxiliary light, we must remember the phrase “the sun only has 1”, what it means is that everyone knows if there are two directions After the light hits the subject, his shadow will appear in both directions, especially during the daytime and outdoors. If you use the auxiliary light to fight from another direction and weaken the shadow, you need to pay attention to the Does the shadow appear as a second shade that is not in the direction of sunlight? This is where people who use lights often show off “use lights but they don’t see lights.” Even indoors, if your screen does not give you a light source, you shouldn’t let the person you shoot have shadows in both directions. Keep the shadow of the main light, because there is only one main light at first, and if the shadow does not come from the main light, we will take over the Lord. – In fact, the artists passed down for centuries and summed up the human perception of the light of nature. It tells us that if we see the shadows in two directions, we will feel bad. Why use contour light, or when to use contour light? For example, if the model is black under the black background, then the photographs are easy to distinguish between the background and the hair. But if I make a light to the hair, I can tell the background and his hair clearly. This is the so-called separation of objects from the environment. Of course, the auxiliary light and contour light to the subject generally cannot be stronger than the main light, and the main light is the light that is the brightest. But how to allocate their strength.

When shooting with the ttl mode, if you find that people are too bright when shooting a character with a flash, you may wish to lower the flash exposure compensation, which can effectively reduce the brightness of the character. TTL mode is suitable for those situations. First, if you only have one hot shoe flash and only place it on the top, it is highly recommended that you use TTL mode. Second, if you use all the original flash, you can rest assured that Bold TTL mode for multi-lamp flash. But pay attention to the multi-lamp flash in the TTL mode. After all, it is a kind of flash method that relies on receiving the flash signal from the main lamp to achieve the flash, so he is still “light flashing”. Its range of use is limited by the hot shoe. Whether the sensor on the lamp can receive the flash signal from the main lamp. The difference between light flashing and TTL flashing is actually saving everyone the cost of buying a flash device. Nowadays, most of the inexpensive flashing lights on the world support light flashing and ttl flashing. Light flashing is an extremely old method of flashing. When I haven’t yet come to this world, it is necessary to achieve multiple flashes of light, relying only on light flashes. I have met someone who tried to use the current flashlight to try to get a flash. It may happen that it flashed but he did not participate in the exposure. The specific situation is this: everyone in the camera should have a roof flash and then buy a heat. Boot flash, then we can not have two lights involved in exposure it? This is indeed true, but he does not know how light flashes and ttl flashes work. It’s wrong to set it wrong (I’ve done it before) The working principle of TTL is to flash at a very fast speed, then receive the incident light from the exposure subject through the flash sensor, calculate the appropriate output, and then flash again Participate in exposure. ——It’s a bit stupid, right? In simple terms, TTL is two flashes, and the first one is not involved in exposure. However, if you have a ttl flash on the top of the camera, the flash to be flashed is switched to the light flash mode. The first flash that does not participate in the exposure is received by this flash. The results of the second participation in the flash will not flash. Here are some of the students to ask, and now the flash is not very expensive, light flash so old you have to talk about what? In fact, if you buy all the original lights, this paragraph can indeed be ignored, but light flash can achieve different brands of hot shoe flash mix. This is a skill that must be mastered by a shy photographer. Since all of this is said here, I sent Nikon party members a benefit. I think the best body supported by the hot flashes in the hot flashes is Nikon. They call themselves the CLS flash system. A special feature is that the top flash can be used to flash but not participate in the exposure.

Photographing is inseparable from light, and light is in shadow. Photography is the use of light to paint. How to use light and shadow to form images and tone is a key to photography. The natural light in real life comes from the only sunlight. For the light projected on the subject, not only the position and area of the shadow will change with the direction and angle, but also the impression, feeling, including the shadow of the subject. Blended tones also show distinctly different visual effects. Therefore, choosing the right light, including proper light direction and angle, is the first step in photographic creation.

In general, the classification of light from the direction of illumination can be divided into three main categories, namely, directional light, side light and back light. Directional lighting is the light coming from the back of the camera. Since light is radiated uniformly from the front to the subject, the subject has a large light receiving area and the shadow is relatively small. It is relatively easy to measure and control the exposure when shooting. Even with the camera’s automatic exposure system, exposure errors will not occur. However, under the condition of smooth light, the surface of the subject is uneven regardless of unevenness, because the light is completely the same reason, the shadow is not easy to appear, it will result in the lack of texture and three-dimensional sense of the object, the description of the subject tends to be flat; light refers to the light coming from the side of the subject. It can give a clear shadow to the surface of the subject. For the texture of the surface, the texture is a very ideal light. Sidelight can both outline the outline of the subject and reflect the stereoscopic effect. It is a light that is commonly used when shooting light. Backlight refers to the light that sunlight shines from behind the subject. It can be imagined that in the case of backlighting, the subject often becomes a silhouette, so it is relatively difficult to grasp the exposure. Backlighting can set a dazzling and moving Phnom Penh on the outline of the subject. With appropriate processing, it can create a unique aesthetic feeling and produce dramatic feelings of light and shadow. When shooting backlit photos, if you press background metering or exposure by automatic program, you will often underexpose. Be sure to pay attention to exposure compensation or fill light. The fill light can be synchronized with the reflector or flash during the day.

We know that from sunrise to sunset, the sun changes position every second. Therefore, the light that shines on the subject will change its angle as the sun’s position changes. As the angle changes, the texture of the subject’s surface and the balance of the shadow will directly affect the overall performance. In general, the light around 45 degrees above the side of the subject is considered to be the optimal daylighting angle, which corresponds to about 10 o’clock in the morning and about 2 o’clock in the afternoon. Because the same is the sidelight, the shadow of the subject is shorter at high angles, and the shadow of the subject is longer at low angles. The light of the same condition is only once a day. The choice of the angle of light cannot be taken lightly. This requires the photographer to carefully observe the subtle changes of light in different seasons, different weather conditions, different times, different directions and angles, as well as the images that can appear on the screen. Emotional effects for better use of light based on themes and ideas of performance.

Moreover, if the light is differentiated from the light quality, there are soft and hard points. Direct light is often referred to as “hard light,” and generally refers to sunlight that is not shielded by clouds or other objects, or artificial light that directly strikes the subject, such as lights, flash lights, and the like. Subjects under direct light illumination have relatively large light in the light receiving part and shadow part, clear light part, heavy shadow, strong contrast in the picture, and strong three-dimensional effect. But for some subjects, such as petals and human skin, when the contrast between light and dark is too large, it will give people a rough feeling. The direct flash will often leave an exaggerated shadow behind the subject, making the picture appear too rigid and lacking in aesthetics. It is worth noting. Scattered light is a kind of soft light that doesn’t produce obvious projections. It is also called “soft light.” Light rays such as when it is cloudy or when it is blocked by the sun are scattered light. When using artificial light, the light reflected by the translucent paper or the reflector also belongs to the scattered light. Because the light is not directed but reflected from the different directions to the subject, the shadow is very light, the contrast is small, and the tone is relatively soft. In the overcast sky of clouds, because of the transition of light, the hue and shadow will appear unchanged, and the picture will appear dull. The bright cloudy sky with a faint cloud sheltering the sun, direct light and scattered light, is generally recognized as the best “photograph day”.

When it comes to photography, there is another factor that must be taken into consideration: the relationship between light and color temperature. In color photography, the color temperature of the light source directly affects the true reduction of the subject’s color. The color temperature is the spectral component of the light source and is a measure of the color of the light source. It is expressed in terms of the temperature scale K (Kelvin). In general, in a light source with a high color temperature, there are more blue light components than red light. In a light source with a low color temperature, there are more red light components than blue light sources. The color temperature values of different light sources are not the same. In the same daytime, the color temperature of sunlight varies in different time periods. For example, the color temperature of the sun at sunrise or sunset is low, about 2000-3000K, and the morning or afternoon sunlight is about 3800K to 5200K, the sun around the time of noon is around 5500K. The electronic flash has a color temperature of 5500K, a tungsten-iodine lamp, and a tungsten light for photography is generally around 3300K. In color photography, there are two types of color film: daylight and light. The calibrated balanced color temperature of the daylight type color film is 5500K, and the calibrated balanced color temperature of the light type color film is 3200K. In other words, the daylight type color film must be used under the light source of 5500K in color temperature to obtain the standard color reproduction, and the light type color film is suitable for use under the light source of 3300K color temperature. If a daylight-type film is used to record under a light source with a color temperature of about 3200K, the picture will be orange-red. For example, if the color temperature of sunlight is low in the morning and in the evening, photographs taken on a daylight-type film at sunrise and sunset tend to be orange-red. Also here. One method is to use a daylight-type film to shoot under a light source with a color temperature of 3300K.

You can also increase the color temperature by adding a blue color temperature conversion filter to the lens to obtain a normal color reproduction. Similarly, the light color film can also be used under a 5500K light source by lowering the color temperature by using an amber color temperature conversion filter. For an experienced photographer, it is necessary to master the changes in the color temperature of different light sources in order to better grasp the color and tone of the photo, and to fully reflect the theme of the creation and the atmosphere of the picture.