Many video camera manufacturers, particularly those with large sensors intended for “film” acquisition, state that the dynamic range of their camera is 14 stops or 16,394:1, a very impressive ratio.
The Inverse Square Law clearly states that it is applicable only in the case of a point source of light
Just when we were feeling comfortable with the CIE photopic response curve of 1924, we discover that this standard has been completely incorrect for nearly ninety years.
Recently, I was browsing through some lighting manufacturer’s data sheets for a group of “TV Softlights.”
Every four years we behold that ritual gathering of the tribes, the national political conventions. And every four years, a new generation of television makers discovers the “star filter.”
The report does anticipate that the spectrum of LED sources for motion picture lighting will improve, which has proven to be true.
Every broadcaster has moments when their thoughts turn to the merits of changing to solid-state lighting.
We reach a saturation point where the output actually decreases as we increase the energy in the device.
The technical world associated with the entertainment lighting industry has become very complex and sophisticated.
The goal of the design was high picture quality with little or no adjustment necessary from setup to setup.
The reality is that the range of brightness of many subjects is greater than the camera or display system can actually accommodate.
Most of the body of the lens can be removed to greatly lower the amount and subsequently the weight of the lens, but still retain the curved surfaces and their optical characteristics.
Your immediate reaction may be, "What do I need a light meter for? I have a $25,000 light meter—my camera!"
In the world of multiple-camera television, there comes a time when you will be thwarted in your attempt to make lighting history.
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