CAMERA AND SOUND www.eiilmuniversity.ac.in Subject: CAMERA AND SOUND Credits: 4 SYLLABUS Camera Lighting Equipments; Controlling Light Quality; Knowledge of Safety Precautions & Other Lighting Accessories; Light Meters & how to Achieve the Best Exposure; Latest Meters & the Views of Cameraman; Flash Meter V & VI; Elementary Sensitometry; Color Sensitivity & Spectral Sensitivity Area; Types of Printer; How to Shoot the Gray Card; LAD; Qualities of Natural Day light; View on Color, Light & the Magic Hour. Sound -I Sound Production Chain: Microphones, Connector, Mixing or Routing Device, Recording Device and the Monitoring Circuit of the Recording Device; Use of Different Kinds of Microphones; Studio Setup: Mixer, Midi, Harmonizer, Connecting a Sound Card, Cabling, Plugins, Monitoring Device, Subwoofers and the Signal Flow of a Studio Setup. Sound -II Recording Process and Post Processing for the Vocals; the Art of Sound Effects; Noise Reduction; Art and Technique of Post Production Sound; Digital Recording; Nonlinear Editing Systems and their Setups; Sound Editing Software; Sound Track and Dubbing; Sound Concepts; the Importance of Sound in a Film Suggested Readings: 1. Camera, Jean-Philippe Toussaint, Matthew B. Smith, Dalkey Archive Press. 2. The Camera, Larry Hills, Capstone Press. 3. Sound, William C. Robertson, Brian Diskin, NSTA Press. 4. Sound Patricia Kruth, Henry Stobart Cambridge University Press. UNIT I LIGHTING EQUIPMENTS & TO CONTROL LIGHTING EQUIPMENTS & TO CONTROL LIGHT QUALITY LIGHT QUALITY Introduction subject’s nose and face). Therefore, the sec-ond factor becomes CAMERA Every light source, whether it be the sun, sky, desk lamp, very important-the size of the light source. streetlight, fluorescent tube, candle, or professional lighting Light sources with large areas from which the light emanates instrument, has its own character or quality. Color tempera-ture will cast soft shadows, while those with small areas will cast has much to do with the inherent quality of a given source. hard shadows the light from large sources, such as an overcast However, the most important indication of the qual-ity of light sky, tends to wrap around the subjects and fill in any cast has to do with how it looks on a given subject. A picture of a shadows. subject taken outdoors under an overcast sky looks quite But because apparent size of source is more important than different from a picture of the same subject on a sunny day. An actual size when it comes to determining light quality, the open window casts light of a distinctly dif-ferent quality than distance from the light source to the subject is also a fac-tor. that of an overhead fixture. When a lighting unit is very close to a given subject, the Light Quality Source is also relatively large. However, when the light is moved further away from the subject, the source becomes relative]y This difference in quality affects the nature of shadows cast on small. A good example of a hard light source is the sun. the subject and background; they will appear hard or soft, Although it is actually the largest source available, its great depending on the quality of the light source. The hardness or distance makes it appear to be a small size source and hence very softness of shadows cast by any light source is dependent on secular. two factors-distances between the subject and the source and The larger the source,the more diffuse the light and the less the size of the light source. dense the shadow. All other things being equal, when the distance between the subject and the background is increased, the shadow softens. In Controlling Light Quality most shooting situations, the relationships between subjects Lighting units are generally selected for their ability to create or cannot always be altered (e.g., the relation-ship between a eliminate shadows, depending on their intended use. Some- times it is preferable to illuminate a subject with com-pletely shadowless lighting. This may be the case when shadows may interfere with an already intricate pattern, when shadows detract from the primary subject, or when soft, shadowless illumina- tion suits the mood of the script. In these cases, it is wise to use the largest lighting units available. In many lighting setups, hard sources of light are used to give shape, form, and character to the subjects. If a ball is illumi- nated with a completely shadowless light, it will photograph as a flat disk. When a hard spotlight is used, its round shape is immediately apparent. The shape of faces, bodies, and all other three-dimensional objects are revealed with clarity and vitality by directional luminaries. Hard lights provide the directionality and characteristic look of the shot; soft lights raise the overall illumination levels and fill in dark shadows. The lighting quality of real settings can be duplicated by selecting’ instruments that cast the same type of shadows as the sources that illuminate the real settings. The Lighting Fixture All artificial light sources must be installed in a fixture before they can be safely and conveniently used for lighting pur-poses. Most fixtures, also called luminaries or instruments, have a housing that is usually constructed of lightweight, heat- resistant sheet steel or aluminum. The housing pivots on a u-shaped yoke, which allows the fixture to be tilted and Swiveled. The yoke is attached to a spud (or cylindrical pin). Or c-clamp and is mounted on a light stand or hung from an overhead pipe 1 CAMERA Lensed Fixtures Lens design The lensed (or enclosed-type) fixture contains a condenser lens .enclosed-type instruments used in motion picture and that is set in a cylindrical housing that completely sur-rounds televi-sion produc’tiori employ at least one piano-convex or the light source. Three brackets are attached to the housing in fresnel lens. Sealed-beam lamps use a self-contained, fluted lens front of the lens to accept various accessories and filters. The design. Both designs refract the divergent rays of the radiat-ing box-shaped base of the housing contains the light socket and source and focus them in parallel or convergent beams. The its reflector holder, both of which are attached to an external piano-convex lens, which has one flat surface and one convex adjustment control. A power switch and cable complete the unit surface, is the simplest design. Because of its great mass, it is .enclosed housings contain cooling slots to vent heat from the quite heavy and does not dissipate heat. This lens is most often lamp in its upright position. On most fixtures, the internal found in the ellipsoidal fixture. lamp may be accessed through a hinged door on the front of The fresnel lens was originally designed to replace the heavy the unit. piano-convex lens for use in lighthouses. The french physicist Reflector Design augustine jean fresnel took the heavy, plano convex lens, cut away most of its convex surface, and duplicated the curved contour with a recessed series of sloped concentric rings, which collect and direct radiant light into parallel .the flat surface of the lens is also textured, which slightly diffuses the transmitted light. Light transmitted through the fresnel falls off gradually enough to allow for two lamps to blend softly in adjacent areas. The fluted lens, an integral part of par and other similar lamps, is discussed in “sealed-beam lamps.” The Ellipsoidal Fixture Except for some carbon arc lamps, all enclosed fixtures use a reflector, which is usually a curved plate with a polished metallic surface. A reflector primarily redirects light, but some designs actually Absorb” infrared or uv radiation. Depending on the luminaries, the reflector may be spherical, ellipsoidal. Parabolic or a combi- nation of these shapes. The shape of the reflector largely determines the throw (the effec-tive length of its projected beam) and the quality of the light beam. The spherical reflector is used in enclosed-type fixtures and The ellipsoidal fixture, so called because of the shape of its scoops, the ellipsoidal reflector is used in both open- faced and reflector (see figure 6.4), contains one or two piano-convex enclosed fixture types, and the parabolic design is found in lenses, thereby giving the ellipsoidal fixture its characteristic long sealed-beam lamps, such as the parabolic aluminized reflector throw and ability to project a pattern on a given area. The (par). The combination reflector is used in the soft light. ellipsoidal is sometimes called a leko light. The ellipsoidal The light socket and reflector are mounted together on rails and housing contains four internal framing shutters, which can be are linked mechanically to a focus adjustment knob. The knob adjusted to project a pool of light with hard, defined lines, such (located on the front or rear base) is either of a semi rotating as a square or rectangle. The instru-ment’s beam is focused by paddle or rudder design, a rotating screw knob, or a sliding sliding the telescoping lens tube at the front of the fixture. handle. The adjustment knob moves the socket and reflector Ellipsoidal fixtures, used primarily in theaters and sound stages, toward the lens for floodlight position or away from the lens are somewhat heavy and un-wieldy for location work. They do for spotlight applications. not have on/off switches and are usually mounted from Reflector design is crucial in indirect lighting fixtures, such as overhead pipes or grids. soft lights, where all light emanates from the reflector, rather The follow spot, which may house several piano-convex or than from the globes themselves. Soft light reflectors may be fresnel lenses, is used when a concentrated, hard circle of light is large, trough like units that emit scattered light over a wide area.