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Based at Pinewood Studios

Lighting

  • The Art to TV and Film Lighting

    Lighting is a key part of the TV and filmmaking process. A well-placed light can fill out shadows, add depth, create emotion, and will all-round increase the production quality of your videos. The lighting of your film is just as vital at creating suspense and evoking emotion from the viewer, just like the acting, music, cinematic camera lenses or even editing.

    A top of the range, professional camera might give you clear images and that on-trend shallow depth of field, but it’s only half of the story. Casting light into your images paints a picture that simply can’t be mimicked by film-editing software.

    The right broadcast lighting equipment used correctly not only transforms the scene but brings out many key features of your film, including:

    • Orientation- for example, showcasing a particular character or allowing your audience to see where the story is taking place
    • Mood and time frame, such as season or time of day
    • Aesthetically pleasing images
    • And depth, perspective and 3D illusion

    To get the most form your images here are our top broadcast lighting tips.

    Try a three-pointer

    A three-point lighting set-up is the go-to standard for lighting video shoots. The basic equipment consists of a key light, a fill light and a back light. The key light is the main point of light in the frame. It is set in front of the subject to one side, to highlight the focus point and cast shadows, which create the mood. The fill light is the secondary source of light in the scene, and is used to soften the shadows cast by the key light. Lastly, the backlight is placed above the subject so that it brings a glow down on to the scene.

    This method of lighting is easy to manage and grasp if you’re new to filmmaking. It adds an overall quality to your videos and contributes to the professionalism of the end result.

    Change the mood with shadows

    If a bright key light is set-up next to the camera and directed at the subject, it results in ‘flat’ lighting. Although this can be good for such TV recordings in newsrooms etc, it lacks emotion and depth, which doesn’t work well for filmmaking. Even interview videographers tend to stay away from this form of lighting.

    Instead, try placing the key light to one side so that it casts light on the subject at an angle. This will form shadows, creating the illusion of depth without being overly dramatic.

    Illuminate the whole shot

    Lighting isn’t just used to highlight the subject. Your lighting set-up should be used to its full potential, therefore it should be used throughout the entire shot. Save some light to illuminate parts of your background. This kind of lighting will help with orientation or give your video a sense of time. Play around with your lighting features such as your barn doors or colour filters.

  • Top 4 Broadcast Lighting Solutions.

    Fiilex K412 Lighting Kit

    "The Kit for All Seasons" The K412 Lighting Kit is a powerful four light kit that will weather the storm. All lights have an amazing IP-24 rating. Each light has Fiilex's patented color tunable technology, so you can quickly match ambient or artificial light. You will be able to work with, or create, complex lighting set-ups with the K412 kit. Complete in a rolling travel case, the kit has two P360EX lights with 400W of equivalent power (uses 90W), and two P180E lights with 200W of equivalent power (uses 40W), four AC Power adapters, four barndoors, three light stands, one cold shoe mount (for P180E), one 15"x15" softbox, and one speedring.

    Kino Flo KIT 139X 12 Mini Flo Kit

    The Mini-Flo System, sometimes called a “car kit,” can be found most often lighting night time car interiors and other small areas. However, over the years, the Mini-Flo’s unique lightweight and colour control features have endeared it to video and broadcast lighting designers as a cool, efficient chin light for speakers at a podium or news anchors in a TV studio.

    The new breed of Mini-Flo is available with single or two-light dimming ballasts, plus a choice of 9” or 12” fixture and lamp sizes.

    Mini-Flo System Highlights: • 1-Lamp remote fixture • Fixture includes Louver and removable Harness • Same fixture takes daylight and tungsten lamps • Light enough to tape to car dashboard • Fixture or Lamp w/ harness runs up to 48 feet (15 meters) from ballast • High-Output, Flicker-free Ballast • Instant-on, dead quiet • Dimming control • Same ballast runs 9" & 12" lamps • UL listed, CE approved.

    Kino Flo ParaZip 200

    The ParaZip 400 and 200 luminaries complement the expanding line of Kino Flo soft light fixtures for television broadcast studios. The sleek ParaZip display a wide, soft beam of incandescent or daylight quality light (CRI 95) that can be dimmed up or down. The ParaZip 400 has switching and dimming controls, the ParaZip 200 features dimming only.

    The traditional ParaZip 400 and 200 Yoke Mount fixtures were designed to allow the yoke brackets to be placed in one of two positions. The additional option is useful when hanging the units in a studio with a low ceiling.

    The new Pole-Op Mount allows the ParaZip to be hung from a pipe grid and adjusted from the ground using a long pole. The fixture includes a yoke with an attached junior pin. The blue cup alters the Pan (left or right) and the white cup alters the Tilt (up or down).

    Fiilex FLXP18O

    The P180E is a on/off camera light that produces an intense specular light. A popular ENG (Electronic News Gathering) light, the P180 can be used as a main, fill, hair or accent light. Add two more and you have a perfect interview lighting set-up (M381 Kit).

    The P180E has a 200W equivalent output, is fully dimmable and color tunable to match daylight or tungsten light sources. The LED technology offers a high CRI (Color Rendering Index), so your colors will look natural and vibrant. The light can be run off AC power, or run off standard broadcast batteries.

    The P180E can handle the weather, it has an IP-24 Rating (International Protection Marking), and can withstand an impressive amount of exposure to direct streams of water such as rain, splashes, and misting. The optional Rain Shield offers the P180E an IP-25 rating for even further weather protection in severe conditions.

  • Using Broadcast Lighting Equipment

    Tecpro Felloni KIT TP LONI D50 Daylight LED Head with soft case and standWhen it comes to Broadcast Lighting it is important to acknowledge that there are two primary goals. The first is to get enough light and the second is to use the light that you have to shape and define the objects in the scene.

    A lighting technician will consider a variety of different factors when deciding upon the best way in which to light the stage.

    The first question they will likely ask is how big the audience is. The answer that is generally provided is that it is both the number of people that are in the room itself plus the audience that will potentially be watching via the web-stream. Unless you have an unlimited budget though there will however need to be some compromises made and it will be your technician’s job to work out how to make the most of what they have available to them. Continue reading

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