The lighting engineer must learn: the studio lighting adjustment Raiders

In the studio, the lighter can follow three main methods: one is the empirical method, which moves the light and repeats the test until a satisfactory result is obtained. But this method is time-consuming and laborious, requires patience, and is mostly a failure. This is followed by the mechanical conventional method of illuminating the subject in a conventional manner by arranging the light at a certain position. This method is very successful from the technical point of view, but the resulting picture lacks attractive appeal. The third is a creative analysis method that systematically constructs illumination processing based on the true understanding of the performance of light, and creatively uses light to accurately achieve the desired effect. Therefore, as a lighting designer, we should have a very rich imagination and conceiving ability, have a good cultural accomplishment, understand the joy, anger, sorrow, and joy of people in life, and recognize the world. And to study human psychology; interpersonal relationship; human visual psychology, visual physiology in the light color reaction. It is also necessary to study the reflection law and physiological reflection law of the viewer's viewing psychology.

First, the determination of the lamp position

The position of any lamp can be positioned with the imaginary horizontal clock face and vertical clock face at the center of the subject as a reference. Since the various effects of the light are always referred to here based on the camera orientation, a light near the camera lens is referred to as "front light" regardless of the direction in which the subject itself is oriented. Especially when shooting in multiple positions, or when we choose a new viewpoint, it will remind us how the effect of the light changes with its direction. Light must always be rated based on the camera's specific viewpoint. If the light is projected directly onto the subject from behind the camera, then the light is "front light." If the camera moves around the subject, directing the light directly toward the camera, so that it is behind the subject, the light becomes "backlighting."

Second, the basic effect of the lamp position

When the light from the camera shines from the camera lens position, the shape will be dull. When the lamp position is raised, the eyes, nose, and jaw of the character will have a certain shadow. Although a certain degree of shadow is appropriate, it can increase the texture of the character. But when the light is steep, the shadow of the character is getting more and more, and the lower half of the head is hidden in the shadow. This kind of lighting effect makes a person with a thin face more ugly than a person with a slightly fat face.

As the degree becomes more and more steep, people become more and more "old". Tilting a little or turning the head slightly changes the length of the shadow and also changes the shape of the face.

Movement of light

When we move the front light around the camera around the subject, the basic effect of the light direction still exists, but the specific shape of the character changes with the change of the light position. At first, the short nose shadow gradually widened as the lamp position moved. The face farther away from the lamp gradually became darker and darker, and the shadows of the nose and cheeks merged into one piece until the side of the face was completely hidden in the shadow. Among them. We move a light to the side and above at the same time, which will have the lighting characteristics in both directions. When we first illuminate the face, we pay attention to the shadows that become the problem, especially the shadows of the nose and jaw. To pay attention to the shadow is not prominent, it may make the light become flat. It is a difficult problem among lighting design workers to have beautiful and moving shapes and to reduce unnecessary shadows. The specific direction of light in a portrait lighting is the same regardless of the location of the illumination.

4. The defect of portrait lighting

In the portrait lighting, there are always certain defects, and artificially correcting one kind of defect will cause another defect to be generated or exaggerated.

The face of the character will be too positive or too soft due to the main light, lacking texture and unclear shape. Excessively high main light will make the face of the thin person even thinner. The oblique main light or the improper side will make the shape of the character uneven, and the hard light will make the dark circles and wrinkles of the face more prominent.

Backlighting is generally not conducive to the three-dimensional shape of the object, only its contour features, sometimes silhouette and semi-silhouette effect. If shooting is taken at a shooting position higher than the subject, the shape of the top surface of the subject can also be expressed. Black hair without strong light reflections looks like a sculpture without texture. Excessive backlighting can make a person's hair look like a hairy or too shiny. A too steep backlight can cause a phenomenon of "flat top" or "bald top".

In the face lighting of people, there are various defects in the nose. The nose that will appear will make the nose longer, bend, and collapse; the long nose will change its length or shape when the character speaks; and the triangle formed by the nose on the cheek Light, he forms or disappears with the movement of the head; and the nose shadow forms a fake beard effect on the upper lip; in addition, the double main light produces a double nose.

The nose shadow will make the inner corner of the eye dark; the steep light of the main light produces a "black eye", the eye socket is deep or shaped like a sly effect; the glare without reflection will make the eye lifeless, lacking expression or dull, that is Often said "no god." And too strong eyesight or a lot of reflection will make the eyes look weird, and sometimes it will produce a sinister and deceptive look. In the face lighting of people, there are various defects in the nose. The nose that will appear will make the nose longer, bend, and collapse; the long nose will change its length or shape when the character speaks; and the triangle formed by the nose on the cheek Light, he forms or disappears with the movement of the head; and the nose shadow forms a fake beard effect on the upper lip; in addition, the double main light produces a double nose. The nose shadow will make the inner corner of the eye dark; the steep light of the main light produces a "black eye", the eye socket is deep or shaped like a sly effect; the glare without reflection will make the eye lifeless, lacking expression or dull, that is Often said "no god." And too strong eyesight or a lot of reflection will make the eyes look weird, and sometimes it will produce a sinister and deceptive look.

The "human defects" caused by lighting cannot be completely eliminated, but can be compensated by the reasonable layout of the individual lamp positions, and the defects are often obscured by other conditions. The characters they photographed can reduce our attention to the above defects. The shadow of the face may be accepted as a shadow caused by another environment. And when lighting, a lamp can change the bad effect of another lamp.

Five, lighting method

The lighting of the studio, due to the different programs, there are many ways. Every lighting designer has different lighting techniques, so the means are different. The lighting of the performance area is generally divided into the following categories:

1. Three-point lighting: In the performance area, the light of the characters consists of three parts: main light, back light, and auxiliary light. The position of the backlight can be changed at will. It can be a light on the front side or a back light on the side of the back. Here, if the camera is not over-slanted, this kind of rigid method sometimes produces excellent results.

2. Double main light performance area lighting: Provide main light, auxiliary light and some kind of backlight for most positions of the camera, so that various positions can display the main light source, which can divide the performance into two areas, adopting Single back light or double back light.

3, soft front light: Use a comprehensive enough bottom light to illuminate the entire scene, so as to avoid the possible underexposure problem in any performance area, and can limit the color contrast. In general, the characters appear to be clearer, but the effect is relatively flat, sometimes by color to distinguish the planes, but it still looks unsatisfactory. If the soft light is highlighted from one side instead of a balanced distribution of overall illumination, the basic shape of the character is improved. Adding backlight lighting will increase the shape of the character, especially from oblique angles. This effect is very obvious.

4. Side main light: The main light and the back light are provided along the hard light on both sides of the set, and the soft auxiliary light is used to illuminate from the front of the set. This kind of illumination method is more complicated to handle, and soft light is used as the bottom light at the key angle on the front of the set, which can achieve excellent results. Then, according to the needs of the local performance area, a few spotlights are arranged along the side. From many cameras, these lights have become the main light and backlighting at an appropriate angle. For angled cameras, they are front light, which is a very good side angle for the front camera.

5. Overall lighting: The lighting method mentioned here is to divide the whole performance into several parts and carry out “three points” lighting. This separate processing method provides dedicated main light, auxiliary light, and backlight illumination for each position to form an overall multi-master light, multiple auxiliary light, and multiple back light. It’s easiest if everyone’s location is scattered and the head’s activities are limited. This simple and straightforward method provides the highest quality of illumination.

Sixth, the correction of static characters

In the studio, some of the problems inherent in the characters can be improved by artificial corrections made by the lights.

Hair: When the character's hair is bright, we should first weaken the light and dark contrast of the cloth, reduce the backlight, and make this area darker. When the character's hair is dark, the light and dark contrast should be strengthened to increase the head light. When the character's hair is sparse, care should be taken to reduce the light and dark contrast of the cloth, reduce the backlight, make the area dark, use local soft paper, and highlight other features by lighting. When the character is bald, care should be taken to reduce the main light, avoid bilateral contour light, reduce backlighting, use local soft paper to darken the area, and try to blend the area with the background to highlight other features of the character. When these problems occur in the character's hair, the camera should use a lower angle of photography.

Eyes: When the character's eyes are deep, the main light should be lowered to avoid hard main light. Use a low angle of photography. When the character's eyes are bulging, the area should be darkened as much as possible to highlight other features. At the same time, the camera should especially avoid the near wide-angle lens angle, and the characters should not look up when shooting.

Nose: When the character's nose is relatively large, the position of the main light should be close to the front, avoiding hard main light and reducing its position. Also reduce the light and dark contrast of the light, avoid the deflection of the deflection, pay attention to the degree of nose protrusion. The character should take a positive position when shooting and slightly raise his head. When the character's nose is small, the opposite lighting method should be used to highlight the texture of the nose, while the character is slightly bowed when shooting. In some cases where the character's nose is long, collapsed, and curved, we should pay attention to the use of a relatively soft, low-main light, paying attention to the degree of protrusion of the nose. In the shooting, the position of the camera should try to avoid the near-wide angle of the wide-angle lens.

Mouth: When the mouth of the character is too large, a relatively softer low main light should be used, and a partial soft paper or soft yarn should be used. When the mouth of the character is small, the skewed, textured, and hard high main light should be used to enhance the contrast between the light and the light.

Forehead: For those with prominent foreheads, reduce the main light, do not use skewed backlights, and avoid the use of bilateral contour light and the use of skewed backlights, and try to make the forehead area darker. For people with a wide forehead, use skewed hard main light to enhance the light and dark contrast of the cloth. Also avoid the use of bilateral contour light and the use of skew backlight. Pay attention to the lower position of the camera when shooting. The angle to avoid near wide angle lens angle.

Neck: When the neck is thicker, use a more positive main light to avoid the use of skewed backlights; do not use bilateral contours. When there are many wrinkles on the neck of the character, use a softer low main light to reduce the light and dark contrast. When the character is double chin, use a soft high main light. In addition, in these cases, the arrangement of the lights should be such that the neck is hidden in the shadows as much as possible, making the area darker and the camera position should use a higher angle of photography.

Face: When there are many wrinkles on the face of the person, use a relatively low-level main light to reduce the light and dark contrast of the light, avoid the deflection of the back light, and use some softer low auxiliary light. When the face of the character is wider, use a harder main light on one side of the character to enhance the light and dark contrast of the light, and use the back light. For those with narrower faces, the main light should be placed on the side closer to the face. Pay attention to the degree of protrusion of the nose, weaken the light and dark contrast of the light, and try to use bilateral contour light. Another character has a situation where the face is too dull and the shape is not clear. In this case, we should pay attention to the use of a relatively high deflection of the main light, to enhance the light and dark contrast of the cloth, using bilateral contour light, do not use a close wide-angle lens at the camera position.

Seven, multi-person lighting

1. Two people are lighting up:

This form of hosting is very common in all TV stations, and it is news, entertaining and symposetic, so there are many forms of lighting. The first is to separate the light, this method is often used in a certain distance between the two, a main light is difficult to complete the main light shape of the two characters. The method is to determine that the two main lights are projected from a front side of the character at an angle of about forty-five degrees, noting that the two main lights are from the same direction, otherwise a false main light projection is caused. The auxiliary light should be two lamps near the axis of the camera that do not interfere with each other. The contour light should be placed at an angle corresponding to the main light to outline the two hosts. The position of the background light should be on the same side as the main light to illuminate the surrounding environment and background.

The second type is flat light combination. This lighting method is suitable for general face type and thin face type. When lighting, the two light positions on the face of the person are near the camera axis, close to the camera, and the light height is human head. Flush. The position of the contour light is located behind the side of the subject, and the light should not be too high or too bright, and should not be too biased.

The third type is side lighting. This method is suitable for two people to talk to the program. The two sides are on the side or oblique side. This way, the communication feeling is stronger, and it is different from the front lens lighting form of the two program hosts. First of all, to determine the main light position of the character, the main light should be placed on the side of the character away from the side of the camera, and as the contour light of another person, it can outline the main shape of the character and the main lines of their respective expressions, while at the same time Sketched the outline of another person. The side of the character facing the lens is shaded by auxiliary light that is close to the sides of the camera. This method of lighting makes the main part of the character reappear from light to dark, and adds a little background or decorative light as needed.

2, three people lighting:

The discussion and discussion scenes of the three groups are very common, but it raises an unexpected problem, how to shoot the person in the middle of the interlaced shot.

The first method is that each person has a separate main light, backlight illumination, and the auxiliary light is placed above the camera axis as a shared auxiliary light. As a result of the lighting, the three people can get the best balance. But for the people on both sides, the auxiliary light appears to be too wide, and since the middle person spends most of the time talking with the left and right, in the multi-camera shooting, there will be a left and right half of the character's face effect is not good. Case.

The second method is that the main light of the left side of the person on both sides is also the backlight of the right person, and the main light of the right side is also the backlight of the left person, and the auxiliary light is separately illuminated, the middleman's lighting method and the first type. same. The third method is that the three people share the main light and back light, and the backlight of the left person is the main light of the right person at the same time, and also serves as the side light of the middleman. At the same time, the lighting of the right person is also the same, so that the middleman has the best lighting effect in the interlaced multi-camera shooting. But its shortcoming is that when the middleman looks in front, his face is divided into two halves by the light on both sides. To solve this difficulty, you can increase the local front light. But the result is not necessarily satisfactory, and its shortcoming is the result of a dull face. For a person who wants to look around and look forward, there is no safe and reliable solution to this problem.

As a light worker, when lighting, it is not simply to supply the camera with light, not simply to meet the illumination requirements of the production technology, and not simply reflect the image appearance within the perspective of the lens. It should be the use of light to participate in the creation of art, using light to depict the image before the lens. It should not stick to the rules, and stick to the formulaic concept of the rigid main light, backlight, and auxiliary light position, and cannot be adhered to "empiricalism." All art forms have excellent works that happen by chance, but this contingency seems to be more reliable in the creation of people.