1 use a variety of light sources to complement each other
If the original fluorescent lamp in the interview or shooting scene is of high quality, its color temperature should be close to the natural light incident from the window. In this case, consider using natural light outside the window as the main light source (adjusting the white balance at 5 600 K) and using the indoor fluorescent lamp as the supplementary light source. If the fluorescent light on the ceiling creates a shadow on the subject, try using a silver reflector to reflect the natural light against the window to increase the amount of fill light. If the shooting site allows the reflector to be placed not too far away, the effect will be better. Then consider using a halogen lamp with appropriate brightness to provide backlight for the subject, which will give the body a warm, bright color. This strategy makes them cleverly combine without changing the color temperature of the three light sources.
2 Improve one or more light sources
The most common and simplest method is to add color temperature paper to the video light to increase its color temperature, or directly
Use high color temperature lamps (Xenon 5 600 K) to match the natural light outside the window and the color temperature of the fluorescent lamp on the ceiling. Of course, in order to obtain a suitable light ratio, it is also possible to try to increase or decrease the intensity of the natural light and the overhead fluorescent lamp to achieve uniformity with the brightness of the indoor lighting fixture, but the difficulty of doing so is relatively large. An economical and simple way to reduce natural light is to put a glazing film on the glass of the same kind as the car glass. For example, the original lighting scheme of the CCTV live studio of the Shanghai World Expo, which I participated in, was once intended to adopt this method. . However, sometimes it is more difficult to use the film shielding operation for indoor fluorescent lamps. When the cost is allowed, it is better to replace the lamps that meet the requirements directly to save time and convenience.
3 light ratio control
In the practice of lighting in a mixed-light field, the control of the light ratio is also a problem that must be taken seriously, especially for programs that are broadcast for a long time under daylight conditions. Because as the sun moves from east to west, the varying intensity of sunlight can have a large impact on the illumination of the scene. In addition, the varying brightness of the sunlight on the background object of the scene will also adversely affect the subject. In order to achieve the desired effect of the shooting task, the author often adopts two methods to control the normal light ratio: one is to adjust the background illumination brightness when the subject's face illumination cannot be changed; the other is that the background brightness cannot be achieved. In the case of a change, it is achieved by adjusting the illuminance of the subject's face. Of course, the most ideal situation is that the above two aspects can be adjusted at the same time.
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