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WHO ARE YOU LIGHTING FOR ?
This was always a discussion at the work tables . Do you light for the public present or do you light for the spectators who are going to see it on video or TV ?
Some time ago it was customary to offer a special function with changes in lighting so that the cameras could record the show in question . If there was an audience at this function , it was communicated that the lighting would undergo changes for that purpose ; this was because the capture technology , or to be more specific , the sensors were not as sensitive as the human eye .
Today this discussion is over , the challenge is to illuminate so that the spectators and those who watch on TV obtain the same experience of lighting a show .
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the lighting setup for a show is choosing between different technical resources . Sectorize to highlight something , work on intensities to generate certain emotions or choose colors in harmony with the art of the show . All this must be well differentiated from the functional light .
For example , if a live music show is going to be broadcast on TV many times , you have to prepare a standardized and functional front light for the cameras where you do not find color temperature variables . In a slightly more complex example , if you work with the television coverage of a festival , many times you are asked to be able to illuminate the public , this helps the organizers to show that it is a box office success , or if it was bad , hide it and just put on screen the sectors where there are people ( the magic of TV ).
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This is achieved with a lot of design work , but also with technological help , the sensors of the cameras are much more sensitive , even more sensitive than the human eye .
TIME IS IMPORTANT
Many times , when lighting designers face the challenge of lighting medium or large shows , they feel the need to capture everything they have learned and use all available resources .
It ’ s important to understand that gear doesn ’ t magically set itself up , artifacts don ’ t come into focus on their own , and scenes don ’ t come together in an instant . It is much more effective to do little , but well !
The concept in your design must be strong enough that it can be represented with 400 top-of-the-line or 40 conventional artifacts .
The challenge as a designer is to generate a lighting language that is simple , solid and easy to communicate .
FUNCTIONAL LIGHT AND ARTISTIC LIGHT
Among the artistic concessions that illuminators have to make when creating
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THEATRICAL ATMOSPHERE .
Currently , shows are thought of as an experience and that experience begins with the first contact that the spectator or potential spectator has with the show , it can be in advertising or simply when buying the ticket . All these stimuli suggest the viewer and with careful continuity they can be the right beginning for this experience to result in the momentum you are looking for .
WHEN WORKING WITH CAMERAS , TAKE CARE OF THE COLOR TEMPERATURE .
After defining the aesthetics or choosing the color temperature that you are going to use , it is convenient that the artifacts that you use are standardized , to explain it with a clear example , if you are going to make an arrangement of frontal lights and within the artifacts , there are different light sources such as tungsten , led or HMI lamps these must have filters to match the color they emit . If these sources are not filtered by contrast , the coldest ones will turn blue and the warmest ones will turn reddish , this will be more noticeable on a camera .
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