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Finding that balance between the camera and the congregation...
Fred Mikeska, V.P. of U.S. Sales & Marketing, A.C. Lighting Inc. – A.C. Lighting
K.C. Hooper, Product Specialist, Apollo Design Technology, Inc. – Apollo Design Technology
Tobin Neis, Director of Marketing, Barbizon Lighting Company – Barbizon Lighting Company
You’re the lighting designer for your church. You have the basics of theatrical-style lighting down. You’re comfortable lighting the altar or stage for your congregation but now the church has decided that they want to start using video for services. Whether it be lighting for live video image magnification (IMAG) for projecting on screens, or videotaping to distribute to remote locations, document sermons, or record performances produced at the church, lighting for both video and the congregation simultaneously is a balancing act. Church Production Magazine recently spoke with some lighting manufacturers, systems integrators, and theatrical dealers who offer considerations about lighting for video that may help you find that balance between the camera and the congregation.
CPM: What should churches understand and consider when lighting for services or productions that will be captured on camera?
Neis: You are now walking the tightrope of lighting for people attending the service live and a camera, which does not see things the same way we do. We suggest lots of testing and looking at the source monitor while looking at the live image with your eyes to make sure both are getting what they need. Luckily the new generation of cameras [isn’t] quite as needy in terms of lighting, but keep in mind you will get better images with good light. Make sure there is enough base white light for the cameras to see and pick up the speaker.
Heid: Understanding of color temperature and camera white balance are fundamental to consistent, natural-looking lighting on camera. Be careful of any glare or reflections from glasses, jewelry, or sad to say—bald heads. What’s merely noticeable to the eye can cause an ugly overexposure or flare on video.
Kline: To some degree good lighting is good lighting, whether designed for a live audience or video. Remember that colors are perceived differently on camera. Even if your lighting is well balanced for skin tones, the color of your backdrop may be drastically different on camera than live. As you are focusing and cueing, check the results on the monitor as you work.
Hooper: Matching the color temps of all the lights will help keep the video camera happy and prevent surprises like a red banner flaring on the monitor. Using color-balancing filters on the lights—CTOs, CTBs, and CTSs to match the various sources will help matters here. Be careful not to use too many different lamp sources. Having a lighting system made up of incandescent, fluorescent, metal halide, and even LEDs can be a nightmare to balance depending on the camera.
Bruns: Even lighting is very important for the prevention of shadowing on both faces and backgrounds that could show up on the broadcast or video. The beam angle you use also plays a large part in what is seen on the video and is something to consider. Wide floods and diffusers will help to give you a smooth look with less shadow.
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Michael S. Eddy writes about design and technology. He can be reached at mseddy2900@hotmail.com. .(JavaScript must be enabled to view this email address)
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ADD NEW COMMENTThanks for the rock solid information, Has anyone tried to tint down stain glass to show subject matter in front of it. This is an older church and some daylight comes shinning through.
Posted by Dan Borland on 07/29/2011 report abuse
CP ran an article a few years ago on a church that improved it’s lighting for video by cutting the number of fixtures in half. Think of the money wasted.
Posted by Brian Blackmore on 05/04/2011 report abuse