Let There Be Light

Upon entering the studio environment for our production class, I anticipated the position of technical director the most. After trying out the role in a basic production class a few years prior, I knew that the inherent pressure of the position, making sure that each take is ready and transitioning properly, was more fun than stressful. On the survey we were provided, I made sure to indicate that I wanted more experience with technical directing - but I also mentioned that I had little interest in lights.

I was wrong.

From the moment we began our test programs, I found myself concerned with what was happening with the lights in the studio, even if it was not my assigned role for the program. Although we had mentioned a basic three-point-lighting set-up should be in place, there were several days when only the overhead lights could be used in the room due to power failures, or the lights were deemed 'okay' quickly in favor of making adjustments elsewhere. I was reminded of the saying "Lights, Camera, Action!" - and how it seems that lights should always come first.

VeldaZ @ Flickr

If you don't have your lighting where you want it to be and make changes to it later, then you might be forced to change where the talent is seated, how you've set the white balance and exposure on the cameras, maybe even how you've utilized the space on the set. I didn't realize how much of a perfectionist I would be in terms of lights, but now that I recognize the need in me to be sure that all lights on set are in place, I also understand the importance of that concept.

Each time we discuss program ideas in the classroom, or even in the studio, I continuously ask questions about the lights. There are things I have knowledge of that I would love to be able to bring to each production. For example --

Light Safety - the Ari lights we have on set get very hot, and there should be gloves available for those who choose to use them in the studio to protect their hands. Students should also be told not to touch the bulbs of the lights at any point in time, even when the lights are off, because the oil in their hands can actually cause the bulbs to shatter when the lights come on at a later time - another reason for gloves! Another safety tip is to call out 'Striking!' whenever you turn on a light, because you never know who might be looking toward the light without being prepared for it to turn on. You wouldn't want to blind the talent on the set!

Color Correction and Scrims - it's amazing what you can do with lights if you have scrims available. They usually come in the Ari light kits, and they reduce the harshness or intensity of the light if need be. Color correction gels for lights can change the atmosphere of the set entirely! A CTB gel can make it appear as if the light source is coming from natural light, turning a regular shot into an outdoor-like scene, and depending on how much you use can also make it look like night. A CTO gel can match the lights in the room to tungsten light bulbs of a home.

Power - We have 650 lights in the studio, which require enough power that only one light should be plugged in to each outlet. I actually once had to learn some formulas for determining whether a light can be used in a particular outlet, but I think common sense is enough in this case!

Becoming ill and being absent made me miss some other positions I would have liked to try, and I feel that was my weakness in the test programs as a whole. However, I knew I could make up for what I missed by helping with troubleshooting - like remembering that the microphones on the cameras needed to be unplugged, or making suggestions for camera angles about head room, and I am even more confident in my ability to help with lighting in the future.

I'm looking forward to more opportunities to help the Shepherd University Studio settle in to a good rhythm, with safety and creativity as equal priorities!