Whenever a movie or television show is filmed, the location must be well lit, whether indoors in a studio or outdoors on location. Without proper lighting, the cameras would not be able to film properly, and the show would be difficult to watch. Lighting technicians set up and control the lighting equipment for movie and television productions.
When beginning a project, lighting technicians consult with the director to determine the lighting effects needed; then they arrange the lighting equipment and plan the light-switching sequence that will achieve the desired effects. For example, if the script calls for sunshine to be streaming in through a window, they will set up lights to produce this effect. Other effects they may be asked to produce include lightning, the flash from an explosion, or the soft glow of a candle-lit room.
For a television series, which uses a similar format for each broadcast, the lights often remain in one fixed position for every show. For a one-time production, such as a scene in a movie, the lights have to be physically set up according to the particular scene.
During filming, lighting technicians follow a script that they have marked or follow instructions from the technical director. The script tells them which lighting effects are needed at every point in the filming. In a television studio, lighting technicians watch a monitor screen to check the lighting effects. If necessary they may alter the lighting as the scene progresses by adjusting controls in the control room.
Broadcasts from indoor settings require carrying and setting up portable lights. In small television stations, this work may be done by the camera operator or an assistant. In a large station, or in any big movie or television production, a lighting technician may supervise several assistants as they set up the lights.
Even outdoor scenes require lighting, especially to remove shadows from people's faces. For outdoor scenes in bad weather or on rough terrain, it may be a difficult task to secure the lighting apparatus firmly so that it is out of the way, stable, and protected. During a scene, whether broadcast live or recorded on film, lighting technicians must be able to concentrate on the lighting of the scene and must be able to make quick, sure decisions about lighting changes.
There are different positions within this field, depending on experience. A lighting technician can move up into the position of best boy (the term applies to both genders). This person assists the chief lighting technician, or gaffer, as well as the key grip. The gaffer is the head of the lighting department and hires the lighting crew. Gaffers must be sure the filmed scene looks the way the director and the director of photography want it to look. They must diagram each scene to be filmed and determine where to position each light and decide what kinds of lights will work best for each particular scene. Gaffers must be observant, noticing dark and bright spots and correcting their light levels before filming takes place. The key grip manages all the equipment (including lights) used by the director of photography.
- Art Directors
- Audio Recording Engineers
- Broadcast Engineers
- Camera Operators
- Cinematographers and Directors of Photography
- Circus Performers
- Composers and Arrangers
- Costume Designers
- Film and Television Directors
- Film and Television Editors
- Film and Television Extras
- Film and Television Producers
- Film and Video Librarians
- Graphic Designers
- Graphics Programmers
- Makeup Artists
- Motion Graphics Artists
- Music Conductors and Directors
- Music Venue Owners and Managers
- Music Video Directors and Producers
- Music Video Editors
- News Anchors
- Non-Fungible Token Artists
- Political Reporters
- Production Assistants
- Production Designers and Art Directors
- Radio and Television Announcers
- Radio and Television Program Directors
- Real-Time Captioners
- Show Runners
- Special and Visual Effects Technicians
- Sports Broadcasters and Announcers
- Stage Directors
- Stage Managers
- Stage Production Workers
- Stunt Performers
- Talent Agents and Scouts
- Theater Managers
Wakati wowote filamu au kipindi cha televisheni kinapopigwa, mahali lazima paangazwe vizuri, iwe ndani ya studio au nje ya mahali. Bila taa nzuri, kamera hazingeweza kupiga picha vizuri, na ingekuwa vigumu kutazama maonyesho hayo. Wataalamu wa taa huweka na kudhibiti vifaa vya taa kwa ajili ya filamu na televisheni. Wakati wa kuanza mradi, wataalamu wa taa hushauriana na mkurugenzi ili kuamua athari za taa zinazohitajika; kisha wanapanga vifaa vya taa na kupanga utaratibu wa kubadilisha taa ambao utafikia athari zinazohitajika. Kwa mfano, ikiwa maandishi yanataka jua liingie kupitia dirisha, watatengeneza taa ili kutokeza athari hiyo. Matokeo mengine ambayo huenda yakaombwa yatokeze ni umeme, mwangaza wa mlipuko, au mwangaza laini wa chumba kilichoangazwa kwa mishumaa. Kwa mfululizo wa televisheni, ambayo hutumia muundo sawa kwa kila matangazo, taa mara nyingi hubaki katika nafasi moja ya kudumu kwa kila onyesho. Kwa ajili ya uzalishaji wa wakati mmoja, kama vile eneo katika filamu, taa lazima kuwa kimwili kuanzisha kulingana na eneo hususa. Wakati wa kupiga filamu, mafundi wa taa hufuata maandishi ambayo wameorodhesha au kufuata maagizo kutoka kwa mkurugenzi wa kiufundi. Maandishi huwaambia ni athari zipi za taa zinazohitajiwa katika kila hatua ya kurekodi. Katika studio ya televisheni, mafundi wa taa hutazama skrini ya mfuatiliaji ili kuchunguza athari za taa. Ikiwa ni lazima wanaweza kubadilisha taa kadiri eneo hilo linavyoendelea kwa kurekebisha udhibiti katika chumba cha kudhibiti. Matangazo kutoka mazingira ya ndani yanahitaji kubeba na kuanzisha taa za kubeba. Katika vituo vidogo vya televisheni, kazi hiyo yaweza kufanywa na mwendeshaji wa kamera au msaidizi. Katika kituo kikubwa, au katika filamu yoyote kubwa au uzalishaji wa televisheni, fundi wa taa anaweza kusimamia wasaidizi kadhaa wanapoweka taa. Hata mandhari za nje huhitaji taa, hasa ili kuondoa vivuli kwenye nyuso za watu. Kwa ajili ya mandhari ya nje katika hali mbaya ya hewa au katika eneo gumu, inaweza kuwa kazi ngumu kupata vifaa vya taa kwa uthabiti ili kuwa nje ya njia, imara, na kulindwa. Wakati wa eneo, iwe ni moja kwa moja au kurekodiwa kwenye filamu, wataalamu wa taa lazima waweze kuzingatia taa ya eneo na lazima waweze kufanya maamuzi ya haraka, ya uhakika kuhusu mabadiliko ya taa. Kuna nafasi tofauti ndani ya uwanja huu, kulingana na uzoefu. Mtaalamu wa taa anaweza kupanda hadi katika nafasi ya mvulana bora (neno linatumika kwa jinsia zote mbili). Mtu huyu husaidia mhandisi mkuu wa taa, au gaffer, na vilevile kiganja cha ufunguo. Gaffer ni mkuu wa idara ya taa na huajiri wafanyakazi wa taa. Waandishi wa habari lazima wawe na uhakika kwamba eneo linalochukuliwa linaonekana kama vile mkurugenzi na mkurugenzi wa upigaji picha wanataka lionekane. Ni lazima wafanye picha ya kila eneo la filamu na kuamua mahali pa kuweka kila taa na kuamua ni aina gani ya taa zitakazofanya kazi vizuri zaidi kwa kila eneo hususa. Wafanyakazi wa sinema lazima wawe waangalifu, wakigundua sehemu zenye giza na zenye kung'aa na kurekebisha viwango vyao vya nuru kabla ya kupiga picha. Kiganja cha ufunguo husimamia vifaa vyote (ikiwa ni pamoja na taa) zinazotumiwa na mkurugenzi wa upigaji picha. - Wasanii wa filamu na televisheni - Wasanii wa filamu na televisheni - Wasanii wa filamu na televisheni - Wasanii wa filamu na televisheni - Wasanii wa filamu na televisheni - Wasanii wa filamu na televisheni - Wasanii wa filamu na televisheni - Wasanii wa filamu na televisheni - Wasanii wa filamu na televisheni - Wasanii wa filamu na televisheni - Wasanii wa filamu na televisheni - Wasanii wa filamu na waandishi wa habari - Wasanii wa filamu na wasanii - Wasanii wa filamu na wasanii - Wasanii wa filamu na wasanii - Wasanii wa filamu - Wasanii wa filamu na wasanii - Wasanii wa filamu - Wasanii na wasanii - Wasanii wa filamu