Monitoring studio lighting on the move

摘要

The progression from tube-based to solid-state camera imagers in the late 1980s and early '90s brought many advantages including a substantial increase in optical sensitivity. This in turn allowed television programme makers to reduce their dependence on high-intensity incandescent lighting, advancing to cooler and more economical fluorescent luminaires. With the more recent introduction of compact HDTV cameras, filmmakers have in turn begun moving away from their traditional medium to television-based monitoring and full-scale electronic cinematography. Effective stage lighting demands the creative use of spot illumination to provide contrast and to eliminate undesired shadows such as under-chin "beards". This responsibility has to be balanced against the need to maintain a constant colour temperature as the producer switches from one camera to another. It is a difficult art and any mistake, particularly in an HDTV production, can have serious implications on a programme's commercial value.