Latest articles by Bill Klages
The face-to-face interview is one of the most fundamental setups in television broadcasting.
Every broadcaster has moments when their thoughts turn to the merits of changing to solid-state lighting.
The report does anticipate that the spectrum of LED sources for motion picture lighting will improve, which has proven to be true.
As it turned out, finding decent lighting was not as straightforward as finding the flawed.
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 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.
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.
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.
Many present-day fixtures, perhaps a majority, come complete with their own self-contained dimming.
In the world of multiple-camera television, there comes a time when you will be thwarted in your attempt to make lighting history.
Your immediate reaction may be, "What do I need a light meter for? I have a $25,000 light meter—my camera!"
We reach a saturation point where the output actually decreases as we increase the energy in the device.
Prior to this, it was common practice to boost the voltage on the 500 watt to get more light output.
The measure of the success in the development of the HDTV has always been how close it is to the image quality of motion picture film.
We can use this isolation characteristic to our advantage when lighting for the camera… and to great satisfaction.
Any of the typical mounting positions located in the "house" downstage of the proscenium are located quite a distance away.
I would like to address what I consider to be an "original sin" of television lighting.
There will come a time in your lighting career when you will be confronted by a need to determine the number of fixtures you will require to provide at a certain light level.
Measuring incident light is the usual means of determining exposure because of its simplicity.
The majority of the time in this column we are discussing good lighting. What about "bad" lighting?
