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233 Cards in this Set

  • Front
  • Back
201
In a properly produced product, what should your video essentially be able to accomplish?
201
Your video should essentially stand alone without audio and still be able to tell the story.
201
What does any technique in the video production process drawing attention to itself accomplish?
201
It has undone anything you’re hoping to accomplish.
201
What are production values?
201
The basic standards applied to every production and they play an important part in the success of your
video product.
201
What should you consider as you build your product?
201
The needs of your viewer.
201
What is your responsibility to the viewer in each product you assemble?
201
You must represent the viewer and ensure they see the video necessary to visually understand your message.
201
What goes a long way to guarantee success in your productions?
201
Conscientious application of video techniques.
202
What is the primary instrument of video production, be it in the studio or field environments?
202
The television camera.
202
What are your eyes perceiving when they see light?
202
The wavelength of light rather than its audio counterpart of frequency.
202
For what part of your vision are your cones responsible?
202
Your visual acuity.
202
What is “persistence of vision”?
202
The capability of looking at an object and having your visual system retain the image of the object for a short while.
202
What is the biggest advantage of digital video?
202
There is no quality lost when transferring your digital imagery into your computer or onto some other storage media.
202
What is each complete scan called?
202
The first complete scan is called a field, and the second complete scan is called interlaced.
202
What is the process called when two complete scans are combined and what does it prevent?
202
Interlaced scanning and it prevents annoying picture flicker.
202
What do two fields combined make and what is its rate per second?
202
One frame; the frame rate equals 1/30th of a second.
202
What is picture “resolution?”
202
The quality of the video image as it is reproduced on a display source.
202
When television was developed in the 1950s, what system was established as the United States standard?
202
A 525-line system.
What is the resolution of the HDTV system, as proposed by the SMPTE?
202
The HDTV system increases the resolution to a 1,125 line system.
202
Under which principle does color light operate?
202
The additive principle.
202
What does this color light principle mean when trying to create colors in the visible spectrum?
202
By mixing the three primary colors of red, blue, and green in varying proportions, you can create every color in the visible spectrum.
202
What is “hue?”
202
The tint of color, or the color we actually see.
202
What word is described as the strength or purity of the color, or the amount of dilution of the color through the addition of white light?
202
Saturation, also called chrominance or chroma.
202
What is the brightness component of color called?
202
Luminance and it depends upon the amount of light the color reflects.
202
What is the basic idea behind color television, when trying to produce any color in the visible spectrum?
202
The manipulation of the intensity of each of the three primary colors, combined with different qualities of
luminance and saturation, to produce any color in the visible spectrum.
202
What is the television system used in the United States called?
202
The NTSC color system.
202
What are the four basic components of a color camera system?
202
(1) The optical system.
(2) Chrominance channels.
(3) The luminance channel.
(4) The encoder.
202
What happens to multicolored white light as it passes through the optical system?
202
It permits only one primary color to enter each of the chrominance channels. Only red light is permitted through to the red CCD, only green light passes through to the green CCD, and only blue light passes through to the blue CCD.
How many CCDs receive the “chroma” or color information of the picture and why?
202
Three separate CCDs receive the chroma or color information of the picture, one for each primary color.
202
Which primary color channel usually provides contouring and luminance information?
202
The green CCD.
202
When a camera is adjusted to ensure the three chrominance and luminance systems are balanced, which colors are adjusted and which remains stationary?
202
Green remains stationary while red and blue are adjusted to the green standard.
202
What is the encoder designed to do?
202
To combine the three color signals (red, green, and blue chrominance information) with the brightness signal (luminance information) into a single, composite signal.
202
Where is the CCD chip mounted and what benefit does this provide?
202
Directly onto the beam-splitting prism block giving the added benefit of being much more durable than a tube camera.
203
What must military documentation preserve?
203
The reality, spontaneity, authenticity, and informality of the military situation.
203
What is a shooting outline?
203
The outline is a rough sketch of what you wish to shoot.
203
What type of documentation would a major disaster fall under?
203
A contingency documentation.
203
What types of events and actions does operational documentation portray?
203
Documentation of new types of aircraft, weapons, techniques, civic and humanitarian actions, Air Force
participation in civil events, dedications, memorials, and personalities.
203
What are the most familiar forms of ceremonial documentation?
203
Parades and change-of-command ceremonies.
204
What is your purpose in alert documentation?
204
To provide those who must investigate the causes of these incidents with visual evidence that will help them solve a case or establish criminal liability.
204
What are the two purposes of visual documentation in air craft accidents?
204
(1) They allow the investigators to graphically reconstruct the events of the crash.
(2) They provide a means of indentifying parts of the aircraft.
204
What is the most important element of crime scene documentation, and how do you achieve it?
204
Proper perspective, your footage should be captured from normal eye level.
204
What should always be included in an alert crash kit?
204
Always include extra batteries, storage media, and tripod.
205
No matter what your product, what is your obligation to the viewer for them to adequately understand your message?
205
To provide visual information the viewer desires.
205
What does composition refer to?
205
The organization of various visual elements within the videospace in a way that presents a picture which
1) is unified,
2) establishes spatial and psychological relationships between the various components,
3) directs the audience’s attention to the most important elements within the scene, and
4) produces an aesthetically pleasing and interesting picture to watch.
205
Upon what is the perspective of depth in a television picture totally dependent?
205
The careful use of camera angles and performer blocking, production variables like set design, lighting and
makeup, and picture composition.
205
What are three major categories of groupings?
205
(1) Balanced and unbalanced groupings.
(2) Triangular groupings.
(3) Foreground-background groupings.
205
What are some of the more common mistakes to avoid in shot composition?
205
Poor juxtaposition of subjects, lack of headroom, look space, differences in subject height, unsuitable
camera angle, too much screen space, distracting movement, and profile shots.
206
To what does framing refer?
206
What you decide to include (and exclude) within a shot.
206
What are the two categories of framing considerations?
206
(1) Technical decisions.
(2) Aesthetic judgments.
206
When the video signal is transmitted from the camera through the television system to the viewing audience, about how much of the outer portion of the picture is lost?
206
10 to 15 percent.
206
To what does field of view refer?
206
That portion of a scene or set covered by the area visible through the camera lens.
206
How does the rule of thirds work?
206
Simply divide the picture into thirds horizontally and vertically and place your primary subjects wherever the lines intersect, keeping in mind what is important to see.
206
What is leading line?
206
One that directs your viewers’ eyes to the center of interest in your picture.
206
What effect do diagonal lines produce in a scene?
206
Forward motion and speed are suggested when the direction of the diagonal line progresses upward from left to right. Slower motion is suggested when the lines run upward from right to left.
206
What is the normal angle?
206
Placing the camera at the subject’s eye level and photographing the scene at their level.
206
What type of movement, in relation to the camera, is normally more dynamic and interesting?
206
Movement directly towards or away from the camera.
206
How should you frame a subject moving parallel to the camera?
206
Always lead the subject by allowing more space or lead room in front than behind.
206
State the three rules of movement.
206
(1) Movement must be motivated.
(2) Movement begets movement.
(3) Movement must be believable.
207
What does continuity mean in a motion media context?
207
That shot progressions are assembled into scene sequences.
207
How would you, a broadcast specialist, determine the continuity significance of uncontrolled and semicontrolled recording situations?
207
To fulfill this responsibility, there is no substitute for preplanning.
207
What do we call scenes that identify the overall locale of a recorded situation?
207
The establishing shot.
207
What purpose does the reestablishing shot serve?
207
Reorienting the audience, relieving or preventing the disinterest caused by the sustained CU frame, and
smoothing out continuity.
207
What is the action axis?
207
An imaginary line running through a subject used to maintain a consistent screen direction.
207
What happens when you violate the rules of screen direction?
207
It can quickly disorient viewers and result in unintended confusion.
207
Define the term “screen direction.”
207
Maintaining the apparent direction of subject travel across the screen.
207
List four ways to make a visually acceptable change of screen direction.
207
(1) Have your subject actually change direction and show the change on the screen.
(2) Gradually work around your subject.
(3) Introduce a scene to divert your audience
(4) Use an identifiable object to orient the audience to the movement of your subject.
207
What is a jump cut?
207
An unnatural or jarring transition between two camera shots.
208
By what means does a battery generate electricity?
208
Chemical.
208
What exists at the negative terminal of a battery? What exists at the positive terminal?
208
Excess electrons; deficiency in electrons.
208
Describe the directional flow of electrons within a battery. What is this circular path of electron flow called?
208
From the positive terminal to the negative terminal; circuit.
208
Name the two basic parts of alternators and generators.
208
(1) Field coil.
(2) Armature coil.
208
What mechanical action is necessary in the relationship of these two principal parts to induce electric power?
208
Rotation.
208
Distinguish between DC and AC.
208
DC flows only in one direction. AC reverses its direction of flow at regular intervals.
208
To what does “hertz” refer? In which type of current is this applicable?
208
Cycles; alternating.
208
Define resistance.
208
The opposition that a conductor or piece of electrical equipment exerts to the flow of electrons through it.
208
What is used to measure voltage?
208
Voltmeter.
208
What do you call the number of reversals and alternating current supply voltage makes in one
second?
208
Frequency.
209
State the rule applied in analyzing a circuit’s total power consumption.
209
The power consumed by the entire circuit is equal to the sum of the power dissipated in each individual circuit.
209
State the rule used in analyzing a circuit’s total current flow.
209
Total circuit current is equal to the power in watts divided by the input voltage.
209
What is the basic ratio of fuse capacity to the maximum current drawn by a given circuit?
209
Fuse current ratings should be about one-half times the maximum current drawn in the circuit.
209
Is it correct to say that the larger the wire gauge number, the greater the current capacity of the
extension cord?
209
No; the larger the wire gauge, the lower its current capacity.
209
State a good rule to follow regarding current capacity in selecting long extension cords.
209
Select one with a current capacity at least twice the amount of current you expect to draw.
210
Name the five basic electrical measurement instruments and the one instrument that incorporates the function of all but one of the five.
210
(1) The AC voltmeter.
(2) The DC voltmeter.
(3) The AC ammeter.
(4) The DC ammeter.
(5) The ohmmeter.
(6) The multimeter.
210
Which measurement is not in the multimeter’s capabilities?
210
The AC ammeter.
210
In making voltage and/or amperage measurements, does it make any difference whether the circuit is AC or DC? Explain.
210
Yes. DC measurements must be made with the instrument connected in correct polarity (positive/negative).
210
Do you activate the circuit when measuring ohms?
210
No, an activated circuit damages or destroys the ohmmeter.
210
List the four precautions for making measurements with any meter.
210
(1) Always use the correct meter. If you are using a multimeter, be sure it is set for the correct function. Become familiar with your meter by studying its operational instructions.
(2) Be sure that the meter range is set properly for the electrical quantity you wish to measure.
(3) Be sure to connect the meter properly for the test to be made.
(4) Take special precautions to avoid electrical shock and/or damage to equipment.
211
Briefly state the six general principles for handling, use, and care of electronic components.
211
(1) Know what you’re doing by reading the instructions.
(2) Keep components, connecting cables, and connectors dry.
(3) Don’t subject electronic items to impacts, falls, or rough handling.
(4) Avoid extremes of temperature, provide adequate ventilation, and don’t place equipment on hot surfaces.
(5) Keep units and connectors free of oil, grease, dirt and chemicals.
(6) Don’t force connections.
211
What happens when equipment usually operated on AC power is operated on DC power?
211
A built-in converter changes the AC voltage to a DC current of the same voltage as that produced by the battery.
212
What is the major disadvantage of the convertible camera?
212
The major disadvantage of this type of camera is that it does not have a dockable recorder (camera/recorder
unit combination).
212
What unit of measure is used for light level or light intensity?
212
FC.
212
What is contrast range and what is the maximum ratio?
212
The ability of a camera to pick up and faithfully reproduce variations of brightness within a scene; generally not exceeding 30 to one (30:1).
213
What two qualities are the internal camera filters designed to correct?
213
(1) Light quantity.
(2) Light quality.
213
What is a ND filter designed to do?
213
Change light quantity without changing the actual color of the light passing through.
213
What does the ¼ ND filter designation mean?
213
How much light is allowed to pass through this ND filter. In other words, one-fourth of the light passes through the filter while three-fourth of the light is knocked down.
213
What is one way of describing a particular mix of spectral hue emitted by a light source, (i.e., light quality)?
213
Color temperature, expressed in degrees (K).
213
What filter is used for color temperatures above 4400K? What does the filter do and why?
213
The 5600K filter. This filter adds reddish-orange in the light pathway. Since the camera is adjusted for 3200K, the reddish-orange filter reduces the high color temperature of the blues down to the reds in the 3200K range.
213
When would you use the 5600K + ¼ ND filter?
213
Where the color temperature is above 4400K and the light is brighter than that found indoors. Typically
sunny, outdoors.
213
What does the internal optical system do to the filter-processed light?
213
It separates the composite light (all colors combined) from the original image into the three primary colors (red, green, and blue).
213
Why was the black balance/white balance system invented and where does it make its adjustments?
213
To correct the color of the image even further. This system electronically adjusts light level signals after they have entered the CCD and are now in the camera itself.
213
How does the black balance/white balance process begin?
213
By ensuring all three CCD chips—red, green, and blue—are operating from the same setup level.
213
When the camera operator engages the white balance system, what levels are adjusted and why?
213
The camera white balance system balances the red and blue white levels to the green white level. Green is kept as the standard and the other two are adjusted to match it. In this way, anything white has the same peak video level in the red, green, and blue channels; none of them are stronger.
213
How often should you black balance and white balance?
213
You only need to accomplish a black balance once a month or so since black (when the iris is closed) inside the camera never changes. The white balance, however, must be accomplished with each change in light
condition or location.
213
What is the feature called that is used to amplify the video signal, when the iris is at or near its maximum aperture? How does it work?
213
Video gain control. It increases the output of the camera by electronically amplifying the video signals, permitting the camera to operate under low-light conditions.
213
What is the zebra setting? What levels are available?
213
This allows you to place obvious stripes on any part of your video meeting preestablished video level criteria. Zebras can be set (at the factory or by maintenance technicians) to either 70 percent video level or 102 percent video level.
214
What is the primary purpose of the camera microphone?
214
Recording natural, ambient sound, and as a backup to the hand-held mike. It should not be used as the primary microphone when recording an interview.
214
What audio input options do you have for each audio channel?
214
There is a switch for each audio channel to select camera, mic, or line.
214
What does the automatic audio control switch engage and how does it affect the audio signal?
214
A clipping device for audio levels exceeding a predefined level in the camera recorder. It ensures the audio
level will not get too loud. While this is convenient, it’s not the best way to gather your audio since, if it is
very loud, you’ll have distortion due to the peaks being cut off by the clipping circuitry.
214
Which audio control mode is preferred by seasoned professionals and why?
214
Manual audio control gives you the most control over the levels going into your camera recorder. It’s best to control bthe audio level while in the field instead of returning to your edit cell to find your camera controlled you and what you have is unacceptable
215. Operator maintenance

If the eyepiece is in proper focus, the macro pin is locked in its normal position, the front focus is set so the viewfinder image is as clear as possible, and the image is still out of focus, what problem do you have?
215

A back focus problem.
216
Name two types of camera lenses.
216
(1) Fixed-focal-length lens.
(2) Zoom lens.
216
Which type of lens has a variable focal length?
216
Zoom lens.
217
What are the three basic components of a camera lens?
217
From front to back: (1) the optical elements, (2) a variable iris, and (3) the mounting system attaching the
lens to the camera head.
217
Explain what happens when you zoom a camera lens in or out.
217
Zooming a camera lens in to (closer or narrower) or out from (farther or wider) a scene causes specific
optical elements to move, varying the lens’ focal length, and changing the picture size and field of view.
217
What do the two numbers, such as 10 x 12, describing a zoom lens mean?
217
The first number (10) is the zoom ratio, the ratio of the longest focal length of the lens to the shortest focal
length (10:1). The second number (12) is the shortest focal length and widest angle.
217
Describe the differences between a wide–(12 mm, 40° field of view) and a narrow-angle lens and
how a 10:1 zoom ratio affects the image when zooming from one (wide) to the other (narrow).
217
A wide-angle lens has a very short focal length and produces images with a wide field of view and objects
appearing far away. In the example, 12 mm would be the widest shot possible with about a 40-degree
horizontal field of view. When you are zooming to the widest shot you are zooming out. The narrow-angle
of the lens has a long focal length of 120 mm and produces images with about a 4-degree horizontal field of
view. The images appear about 10-times closer due to the 10:1 zoom ratio. As you zoom from a wide-angle
to a narrow-angle shot you are zooming in.
217
Why are zoom lenses not actually intended for use exclusively at the extreme long focal lengths
and how do you resolve this problem?
217
Light is refracted and absorbed more at these lengths. A zoom lens looks best at its wide to medium focal
length settings and therefore, instead of zooming in tighter on your subject, it is best to move the camera
forward.
217
What is the smoothest method to control the zoom speed?
217
Using the servo.
217
What is the best aperture range for the iris?
217
They are designed to work best with the iris in the middle of its maximum and minimum iris apertures.
217
When you are shooting and notice your iris is nearing its maximum aperture due to lower light
conditions, what two options do you have?
217
If possible, add light. This causes your iris to stop down, returning you to the midrange iris settings. If it’s
not possible to add light, as a last resort, use the video gain circuitry to amplify the video level.
217
What is the relationship between a higher f-stop number, the iris opening, and the light entering the camera?
217
The higher the f-stop number, the smaller the iris opening, resulting in less light entering the camera.
217
What is a benefit of manual mode regarding the iris and changing light levels?
217
It prevents the iris from drifting as the light level changes.
217
What does the auto-iris measure and what camera adjustment does it make?
217
The average amount of illumination in a scene; it adjusts the camera for the best average exposure.
217
How is a zoom focus accomplished?
217
By zooming in as tightly as possible on the principal subject, adjusting the focus control for the sharpest
picture of your subject, and zooming out to the desired shot.
217
At what point of the zoom range do you perform a rack focus? How does zooming in or out affect your focus once it has been set?
217
Wherever your zoom is located at that moment in time is where you adjust your focus. Your camera
becomes out of focus.
217
What is the area of acceptable focus in front of and behind your subject called?
217
The depth of field.
217
What three factors determine a lens’ depth of field?
217
Three factors determine a lens’ depth of field:

(1) Focal length: The shorter the focal length (the wider the zoom lens position), the greater the depth of field. The depth of field decreases as the focal length increases or the zoom lens position narrows.
(2) F-stop: The smaller the lens iris opening (the higher the f-stop number), the greater the depth of field. You decrease the depth of field as you open the iris (decrease the numerical f-stop).
(3) Camera-to-subject distance: As the distance between the camera and subject increases, the depth of field becomes greater. The shorter the camera-to-subject distance, the shallower the depth of field. Keep in mind, of the total depth of field, two-thirds is behind your subject and one-third is in front. The depth of field behind the principal subject is always greater than in front of the subject.
217
What is the major disadvantage of a range extender?
217
The focal length of a lens is extended at the expense of the lens’ operating light level. A doubler typically
reduces the amount of light entering the camera by four times.
217
Where is the macro control ring located, and what does it control?
217
At the back of the lens, the closest one to the camera (farthest from the front of the lens). It controls the last
adjustable optic in the lens system.
218
What pictorial effects are caused by perspective distortion?
218
Grotesquely distorted close-ups, squashed-up cardboarded images of distant subjects, and bent architecture portrayed by the fisheye lens.
218
When does perspective distortion arise?
218
When the camera’s lens angle differs from the audience’s viewing angle.
218
When does our impression of the picture’s perspective appear similar to that of the original scene?
218
When the viewing angle equals the camera’s lens angle.
218
What enables you to select small parts of the subject from a distance?
218
Narrow-angle lens.
218
Under practical conditions, what happens when you use a narrow-angle lens?
218
Depth appears compressed and foreground-to-background distance seems shorter.
218
What types of views appear distorted as close-ups when you use a narrow-angle lens?
218
Three-quarters face and full-face views.
218
Which lens causes more difficult camera work?
218
Narrow-angle lens.
218
Which lens provides you with a wide overall view of a scene?
218
Wide-angle lens.
218
What type of lens makes subjects seem farther away than they really are?
218
Wide-angle lens.
219
How are television cameras fastened to a tripod or pedestal?
219
They cannot be fastened directly to a tripod or pedestal; they must first be attached to a dovetail plate which fastens to the camera pan/tilt head.
219
State the fundamental purpose of the camera-mounting head.
219
To hold the camera securely in place while permitting smooth rotation horizontally and vertically.
219
What does a camera head use to limit camera movement?
219
Separate lock and friction controls.
219
Which device controls the amount of drag in camera movements?
219
Friction controls.
220
What is a pan and how is it accomplished?
220
A horizontal (side-to-side) movement accomplished by rotating the camera left or right on a stationary pedestal or tripod. A pan should have a definite beginning and end.
220
What is a tilt?
220
A vertical, up and down rotation of the camera on a stationary mount.
220
What is a pedestal camera movement?
220
Raising or lowering the height of the entire camera, using the center telescoping column of the pedestal or
other mount.
220
Explain the camera head leveling device and where you’ll find it used most often.
220
This device is a small container filled with fluid and a small bubble of air sealed with a glass cover. The glass cover has a small circle drawn in its center. When the air bubble is in the center of the circle the camera pan/tilt head is level. You’ll find this device most often on adjustable-leg tripods used in the field environment.
220
Which shot moves the entire camera closer to or farther away from a subject or scene?
220
A dolly or dolly shot.
221
What characteristic is common to ultraviolet and infrared light?
221
They are not visible to the human eye.
221
In normal photographic usage, is there any significant distinction between the terms “light,” “visible light,” and “white light”?
221
No.
What basic characteristic do tvisible light,” and “white light”?
have in common?
221
They all describe the portion of the total light spectrum that is visible to the human eye.
221
State the approximate frequency ranges that provide the visual sensation of perceiving: Blue.
221
400–500 nm.
221
State the approximate frequency ranges that provide the visual sensation of perceiving: Green.
221
500–600 nm.
221
State the approximate frequency ranges that provide the visual sensation of perceiving: Red.
221
600–700 nm.
222. Characteristics of light
Which characteristic of light causes it to be thrown back from a surface?
222
Reflection.
222. Characteristics of light
Which characteristic of light allows it to pass through an appropriate material?
222
Transmission.
222. Characteristics of light
What is the characteristic of light called when it is neither transmitted nor reflected?
222
Absorption.
222. Characteristics of light
What is the characteristic of light called when it may be bent from a straight line path?
222
Refraction.
222. Characteristics of light
What is the characteristic of light called when it may be separated into the respective color
components of white light?
222
Dispersion.
222. Characteristics of light
Which characteristic of light causes it to be scattered when it strikes the edge of an opaque medium?
222
Diffraction.
223. Primary, secondary, and complementary colors
What characteristic identifies a primary color?
223
It cannot be created by any combination of the other two primary colors.
223. Primary, secondary, and complementary colors
If the three primary colors of light are combined in proper proportion, what color of light results?
223

White light.
223. Primary, secondary, and complementary colors
What characteristic identifies a secondary color?
223
Combining two adjoining primary colors.
223. Primary, secondary, and complementary colors
Within the color star, what is the placement of complementary colors in relation to primary and secondary color placement?
223
White.
223. Primary, secondary, and complementary colors
If complementary colors of light are mixed in proper proportion, what color of light results? Why?
223
White; because all three primary colors are present in the combined complementary colors.
224. Rule of subtractive color filtration
State the rule of the effect of subtractive filtration applied to primary-colored filters.
224
A primary-colored filter passes its own color but absorbs the other two primary colors.
224. Rule of subtractive color filtration
State the rules of the effect of subtractive filtration applied to secondary-colored filters.
224
(1) A secondary-colored filter passes its own color or either of the two primary colors that combine to create it.
(2) A secondary-colored filter does not pass the primary color that it complements.
225. Pictorial quality and color quality of light

What do you use natural (e.g., the sun) and artificial (studio or portable ENG) light to accomplish?
225
To direct attention to specific areas giving prominence to particular features while subduing others; to reveal shape and form to give the illusion of volume, contour, size, and proportion; to establish the environment, the subject, and the relationship between them; to establish mood, atmosphere, and time of day; to maintain visual continuity of the factors above; and to satisfy technical requirements of the camera equipment.
225. Pictorial quality and color quality of light

What are the two classifications of all light, whether naturally or artificially produced?
225

Hard or soft.
225. Pictorial quality and color quality of light

What kind of light is characterized as intense and directional, creating harsh shadows?
225
Hard light.
225. Pictorial quality and color quality of light
What is diffusion material?
225
Commercially available material designed to diffuse and soften your light sources and comes in several different types.
225. Pictorial quality and color quality of light

What increases or decreases depending on the surface of the object?
225
Reflectivity value.
225. Pictorial quality and color quality of light

Simply put, to what does ratio refer?
225
The contrast between the brightest and darkest part of a scene.
226. Safety when using lights
What is one of the first safety habits to get into when working with studio lights?
226
Whenever possible, work in two-person teams.
226. Safety when using lights
What components make up lamps and where are they mounted?
226
Glass, metal, and porcelain ceramic components and they fit in a light fixture (also called a light instrument or head).
226. Safety when using lights
What is the best protection against exploding studio lamps?
226
Always screen lighting equipment located close to your subjects or studio crewmembers. Never turn on a light fixture when standing directly in front of it.
226. Safety when using lights
When should the light fixture’s safety chain or cable be used? What does it do?
226
Always use the light fixture’s safety chain or cable whenever fixtures are suspended overhead. This safety backup prevents the light from falling if its mount fails.
227. Mounting devices and accessories

What is the suspended pipe grid?
227
The most common type of batten made of a series of metal pipes.
227. Mounting devices and accessories

How is a C-clamp used?
227

To mount lighting instruments on pipe battens.
227. Mounting devices and accessories

What are lighting instruments plugged into and how are they identified on the control panel?
227
Short cables with connector plugs, called pigtails, hanging from the plugging strips at equal intervals. Each pigtail has a number corresponding to a numbered patch cord on the main lighting control panel.
227. Mounting devices and accessories

Power cords in the ENG/EFP field environment or on the studio floor can become a problem if you use too many standing lights. What is a simple solution to this hazard?
227
Use gaffer’s tape to tape the cord and possibly the light stand to the floor.
227. Mounting devices and accessories

What is a gaffer-grip or alligator clip and what does it allow you to do if it’s in your ENG light kit?
227
Equipped with heavy spring-loaded jaws, the gaffer-grip can firmly grasp any solid, stable surface. The gaffer-grip allows you to set up ENG lights on tables, bookcases, partitions, and other places where a light stand might not fit.
227. Mounting devices and accessories

What are floorstands and when are they most likely to be used?
227
Telescoping metal poles mounted on tripod legs or casters; on ENG/EFP shoots, although some locations supplement their studio lights with ENG lights.
228. Types of fixtures
Into what major categories can light fixtures be classified and what is the difference between them?
228
Spotlights producing a very hard, directional beam of light (hard light), and floodlights producing a softer, diffused beam of light (soft lights).
228. Types of fixtures
In all lighting equipment, what is the actual source of illumination?
228
A lamp.
228. Types of fixtures
What is the standard color temperature for TV lights?
228
3,200 K.
228. Types of fixtures
Name some characteristics of the regular tungsten lamp.
228
They are relatively cheap, has a reasonably long life, is available in a wide range of intensities (power ratings), is generally reliable, and adaptable to many types of fittings.
228. Types of fixtures
Identify the type of light that gives a much greater light output and a higher color temperature.
228
Overrun lamps.
228. Types of fixtures
Which type of lamp is ideal for color TV?
228
Tungsten-halogen.
228. Types of fixtures
Which lamp gives near-daylight illumination?
228
Gas discharge lamps.
229. Lighting units used in production studios
What type of light fittings includes scoops and broads?
229
Soft-light fittings.
229. Lighting units used in production studios
Name the type of light housing used as key-lights, back-lights, and background lights.
229
Spotlights/Fresnel spots.
229. Lighting units used in production studios
What type of lamp housing is used to project patterns of stencils or slides?
229
Effects/pattern projectors.
229. Lighting units used in production studios
What type of light is used to isolate static subjects?
229
Follow spots.
229. Lighting units used in production studios
What are the most frequently used types of spotlights?
229
Fresnels, ellipsoidals, and lensless or open face spotlights.
229. Lighting units used in production studios
What are the most common types of floodlights?
229
Scoops, soft lights, broads, and cyclorama lights.
229. Lighting units used in production studios
What lamps do floodlights typically use and what floodlight uses fluorescent tubes?
229
Tungsten halogen lamps; the cool light.
230. Lighting basics
What are the most important operating characteristics for a camera?
230
Operating light level, contrast range, and picture resolution.
230. Lighting basics
Define contrast range.
230
A relative concept in that it relates to the ratio between the lightest and darkest areas in a picture.
230. Lighting basics
Regarding the background brightness, what is a simple rule when lighting a studio set for a conventional scene?
230
Make the background brightness level darker than the principal subject’s face.
230. Lighting basics
Specify the four secondary objectives of lighting related to its quality.
230
(1) Psychological significance.
(2) Balanced composition.
(3) Depth and perspective.
(4) Pictorial.
230. Lighting basics
What can you do with lights to express a melodramatic mood?
230
You might use low key-lighting to cast huge, ominous shadows against the walls and ceiling.
231. Basic lighting techniques
What effect does front-lighting have on a scene?
231
It tends to flatten them.
231. Basic lighting techniques

What is the simplest way to overcome this effect?
231
Move the light to one side of the camera and direct the light toward the subject from an angle.
231. Basic lighting techniques
What type of lighting is generally used to create dramatic or special effects?
231
Cross-lighting.
231. Basic lighting techniques
What happens to the scene when you use back-lighting?
231
You affect a great deal of depth in the subject.
232. Placement of lights
What is the principal source of illumination for a scene and what does it do?
232
The key light; it provides the primary modeling (shadow or lack of shadow) effect, determines the camera’s operating level (f-stop), and acts as the reference point for all other lighting instruments.
232. Placement of lights
When positioning the key, what is a good starting point?
232
Approximately 30- to 40-degrees to the side of the camera and 30- to 35-degrees above the subject.
232. Placement of lights
What is the function of the fill light?
232
To reduce shadows produced by a hard light source.
232. Placement of lights
Where and how should the backlight be positioned?
232
As directly behind the subject as possible while still ensuring it’s out of the camera field of view. Place it at an angle that the hair and shoulders are highlighted while preventing it from illuminating the front of the subject or creating a bib-like shadow on their chest.
232. Placement of lights
When you find yourself in a small room and the light you’re using is just too bright, for short ENG segments, what light might you consider using?
232
Bounced light.
232. Placement of lights
While bounced light solves the problem of uneven lighting; what is its disadvantage?
232

It tends to hide the texture, form and dimension of subject matter.
232. Placement of lights
The light available in the environment before you modify it with your own light fixtures or equipment describes what kind of light?
232
Ambient light.
232. Placement of lights
How are groups of people lit?
232
You should consider each person in turn.
232. Placement of lights
What do you avoid in lighting areas?
232

Spreading high intensity base or foundation light overall, and superimposing spotlights for modeling and intensity variations.
232. Placement of lights
What is the effect of intense soft-light?
232
Flatten modeling and produce over-lit backgrounds.
232. Placement of lights
How do you get the most attractive picture quality?
232
The most attractive picture quality usually comes from analyzing the performance area into a series of locating points and tailoring the three-point lighting at each to suit the action.
233. Controlling light
What are four methods of controlling light distribution?
233
(1) Instrument positioning.
(2) Using barndoors and shutters.
(3) Beam modification.
(4) Instrument-to-subject distance adjustment.
233. Controlling light
What are four methods of controlling light intensity?
233
(1) Varying lamp wattage.
(2) Changing the lamp-to-subject distance.
(3) Modifying the beam.
(4) Adjusting dimmers.
233. Controlling light
What is the most common studio light-measuring technique?
233
The incident-light reading using a light meter.
233. Controlling light

How do you take an incident-light reading and what are you measuring?
233
Stand or sit at the principal subject’s location and point the meter’s light sensing cell toward the camera. This technique measures the amount of light emanating from one or more light sources aiming at your location.
233. Controlling light

What can happen when dimming a lamp?
233
It causes the color temperature of its light to change. You must be careful not to dim your lights too far or you will distort the color balance.
233. Controlling light

How do you control to which dimmer channel a particular light is connected?
233
The distribution of electrical power to each light instrument is controlled through the patch panel, enabling each instrument to be assigned to a particular dimmer channel.
234. Lighting a set
What can each lighting fixture added to the scene do?
234
Introduce unintended shadows or bright spots.
234. Lighting a set
When speaking specifically of a set and not the people on the set, what fixtures do the simplest lighting use?
234
Fixtures throwing broad, diffused, soft beams of light.
234. Lighting a set
What does isolating the background illumination from the key, fill, and backlights give you?
234
The maximum lighting control when balancing intensities of the different areas of the set.
234. Lighting a set
The most common chroma key system uses a particular hue, usually chroma key green or chroma key blue as the key color. Why are these colors generally the most effective?
234
Because these hues are the farthest removed from skin tones.
235. Effect lighting
What is the purpose of effect lighting?
235
Suggesting visual information that may not actually exist within the factual image.
235. Effect lighting
When selecting effect lighting what must it do?
235
It must have a purpose that aids your commitment statement.
236. Lighting in the field
Generally, when lights are positioned along the camera-to-subject axis, like camera-mounted sun guns, what do they do to the subject?
236
Make the subject look textureless, wash out the foreground, eliminate the sense of depth, and create visually distracting shadows.
236. Lighting in the field
What is the simple, yet effective lighting formula?
236
Camera, reporter, key light.
236. Lighting in the field
Where does a variation of traditional two-point lighting place the second light and what purpose does this light serve?
236
Approximately 120-degrees off the camera-to-subject axis on the opposite side of the camera from the key; a backlight and kicker light.
236. Lighting in the field
Regardless of the lighting set-up, as long as you follow the simple formula, what does diagonally positioning the backlight opposite the key light always do?
236
Keeps the back light out of the camera’s field of view.
236. Lighting in the field
Describe the general use of reflectors.
236
To supplement natural lighting.
236. Lighting in the field
Describe the normal placement range for reflectors.
236
Within some part of a 90-degree arc to the left or right of a line perpendicular to the position of the sun.
236. Lighting in the field
What precautions do you observe to ensure that the use of reflectors will not be noticeable?
236
Firmly stabilize and brace them so that movement isn’t magnified.