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    Chiếu sáng trong truyền hình (English) : Level

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    Bố Cu'n
    - Television lighting levels generally range from 50-200 foot candles for high quality pictures, with consumer cameras able to handle 5-15 foot candles typical of homes. - Contrast for television refers to the difference between darkest and brightest parts of a scene, with an ideal range of around 20:1 on a light meter. - Color temperature relates to the color of light sources, with televisions requiring all major light sources in a scene to match to accurately render color.

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    Chiếu sáng trong truyền hình (English) : Level

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    42 views6 pages
    - Television lighting levels generally range from 50-200 foot candles for high quality pictures, with consumer cameras able to handle 5-15 foot candles typical of homes. - Contrast for television refers to the difference between darkest and brightest parts of a scene, with an ideal range of around 20:1 on a light meter. - Color temperature relates to the color of light sources, with televisions requiring all major light sources in a scene to match to accurately render color.

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    - Television lighting levels generally range from 50-200 foot candles for high quality pictures, with consumer cameras able to handle 5-15 foot candles typical of homes. - Contrast for television refers to the difference between darkest and brightest parts of a scene, with an ideal range of around 20:1 on a light meter. - Color temperature relates to the color of light sources, with televisions requiring all major light sources in a scene to match to accurately render color.

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    Download as PDF, TXT or read online from Scribd
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    42 views6 pages

    Chiếu sáng trong truyền hình (English) : Level

    Uploaded by

    Bố Cu'n
    - Television lighting levels generally range from 50-200 foot candles for high quality pictures, with consumer cameras able to handle 5-15 foot candles typical of homes. - Contrast for television refers to the difference between darkest and brightest parts of a scene, with an ideal range of around 20:1 on a light meter. - Color temperature relates to the color of light sources, with televisions requiring all major light sources in a scene to match to accurately render color.

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    of 6

    Chiếu sáng trong truyền hình

    (English)

    Television Lighting

    Television is a means of changing patterns of light into electrical

    signals for storage or transmission and then recreating those patterns on a

    screen. In order to do this well, the television camera must be presented with

    properly illuminated scenes. The three important considerations are overall

    level, contrast range, and color temperature.

    Level

    Lighting levels for television are generally set by adjusting the

    incident light, or the light striking the subject. The unit of measure for

    incident light is the foot candle, which is the amount of light produced by a

    standard candle at a distance of one foot. Lighting measurements are made

    using an incident light meter, which has a white plastic cover over the

    sensing element and a logarithmic scale calibrated in foot candles. To


    measure the useful incident light for television, the meter is held near the

    subject and pointed toward the camera.

    The minimum acceptable level for color television depends on the

    ability of the lens to transmit light to the camera, the sensitivity of the pickup

    tube or chip, and the amount of depth of field you need. For high-quality

    pictures you need something between fifty and two hundred foot candles.

    Most cameras can be operated in light ranging from the minimum up to ten

    thousand foot candles, or fairly bright sunlight. Where lighting conditions

    fall outside this range, steps must be taken to bring the lighting level into

    line with the capabilities of the camera. With too little light, additional

    lighting must be added. With too much, special neutral density filters must

    be used on the camera.

    Absolute rock bottom

    You'll see cameras advertised as 2 LUX or 4 LUX cameras. 2 LUX is

    equal to .19 foot candles. 4 LUX is about .37 foot candles. I was suspicious,

    so a number of years ago I set up an ordinary candle one foot away from a

    white square on a black background. I tested two cameras. The first was a

    popular CCD camera requiring four LUX for minimum illumination. The

    second was a broadcast camera using Saticon pickup tubes. At a nominal

    one foot candle the CCD camera produced 40 IRE units of video, but the
    amount of noise in the picture was very objectionable. At four foot candles

    the CCD camera produced 100 IRE units with an acceptable noise level. The

    broadcast camera produced 20 IRE units at one foot candle with the "boost"

    set at 18 dB. At four foot candles, it produced 46 dB at 0 boost and 95 dB at

    9dB boost. At four foot candles the broadcast picture was obviously superior

    to the picture from the consumer camera.

    The difference at one foot candle is essentially the willingness to

    tolerate more noise in the CCD camera, giving it more apparent sensitivity

    under extremely low light situations. To mask some of the noise at low light

    levels, consumer cameras often use a setup, or black level, of zero IRE,

    rather than the 7.5 IRE broadcast standard. Some cameras that automatically

    boost the signal in low light situations can also be run in manual mode

    where you can control how much boost you want to use.

    Lighting levels of five to fifteen foot candles are common in homes,

    while office settings tend to range from fifty to sixty foot candles. Keeping

    the reservations in the preceding paragraph in mind, consumer camcorders

    should have plenty of light for acceptable pictures in either setting.

    Contrast
    Contrast refers to the difference in brightness from the darkest parts of

    a scene to the brightest.

    Useful contrast for NTSC television is determined by the amplitude of

    the video signal. The NTSC standard calls for a "peak to peak" amplitude of

    one volt at 75 ohms impedance. Only seven tenths of a volt is used for the

    luminance, or black and white part of the signal.

    Common digital video signals are 24 bit color, with eight bits each for

    red, green, and blue. This scheme allows for 256 individual shades from

    dark to light for each color. Since 24 bit color allows for over sixteen million

    colors, the limited number of shades available for each color isn't usually a

    problem, although the luminance steps may be visible in monochromatic

    scenes.

    If there's too little contrast many receivers will produce a flat, grayish

    picture. If there's too much contrast, details in the brightest and darkest parts

    of the picture will be lost and the picture will look too harsh.

    Since contrast is actually light reflected from the subject, it's measured

    using a reflectance light meter. The meter is held near a variety of very light

    and very dark parts of the subject and pointed toward each part of the subject

    to be measured. The ideal contrast range for NTSC television is about


    twenty to one. This corresponds to a difference of about four and one half f-

    numbers between the darkest and brightest parts of the picture on a

    reflectance light meter. In practice, actual contrast ranges are rarely

    measured using a meter. A subjective analysis based on camera output is

    generally sufficient.

    Color Temperature

    The third consideration is color temperature. Every source of light has

    a characteristic color. This color is related to its "temperature." Lower color

    temperatures tend to be red or orange while higher temperatures tend to be

    green or blue. Color temperatures are measured in degrees Kelvin. Some

    examples:

    Color Temperature

    Temperature ------------- Source ----------- ---Color

    1950 ---------------------Candlelight -------- ----Orange

    2870 ----------------Normal Incandescent --------Orange

    3200 --------------Most Photo or TV Lights -------Orange


    3400 ----------------Some Photo Lamps ----------Orange

    3500-4000 -----------Fluorescent Lamps ----------Green

    5500 ------------------Midday Sunlight ------------Blue

    The eye "remembers" how things are supposed to look and interprets

    color accordingly, regardless of the color temperature of lighting sources. A

    white sheet of paper seems white whether viewed under an incandescent

    lamp or sunlight. The eye can even adjust for "correct color" when two light

    sources of different colors are present in the same scene. Sunlight streaming

    into a room which is also lit by incandescent lamps doesn't make objects it

    strikes appear bluish.

    Television cameras aren't so versatile. They must be set up to render

    color in a way that's pleasing to the eye. They can do this only if all of the

    important lighting sources within a scene have the same color temperature.

    A combination of filters and electronic adjustments is used to adapt color

    cameras to each new lighting situation. Most cameras can adjust

    automatically to typical color temperatures. They cannot resolve conflicts

    when major picture elements are lit at different color temperatures.

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