DISSERTATION Year: 2018-19 Batch No. 16
ROLE OF LIGHT IN FILM AND TELEVISION STUDIO
Sunil Kumar Jethwani Enrollment No.: 14E1AAARM40P126 V Year B.Arch (C)
Prof. SANJEEV PAREEK
Prof. N.S. RATHORE
GUIDE
COORDINATOR
Aayojan School of Architecture ISI-4, RIICO Institutional Block, Sitapura, Jaipur-302022
APPROVAL The study titled “ROLE OF LIGHT IN FILM AND TELEVISION STUDIOS’” is hereby approved
as
an
original
work
of
SUNIL
KUMAR
JETHWANI
enrolment
no.
14E1AAARM40P126 on the approved subject carried out and presented in manner satisfactory to warrant its acceptance as per the standard laid down by the university. This report has been submitted in the partial fulfillment for the award of Bachelor of Architecture degree from Rajasthan Technical University, Kota. It is to be understood that the undersigned does not necessarily endorse or approve any statement made, any opinion expressed or conclusion drawn therein, but approves the study only for the purpose it has been submitted.
December, 2018 Jaipur
Prof. K.S. MAHAJANI EXTERNAL EXAMINER 1
PRINCIPAL
Prof. N.S.Rathore EXTERNAL EXAMINER 2
COORDINATOR
i
DECLARATION I, SUNIL KUMAR JETHWANI, here by solemnly declare that the research work undertaken by me, titled ROLE OF LIGHT IN FILM AND TELEVISION STUDIOS’ is my original work and wherever I have incorporated any information in the form of photographs, text, data, maps, drawings, etc. from different sources, has been duly acknowledged in my report. This dissertation has been completed under the supervision of the guide allotted to me by the school. Further, whenever and wherever my work shall be presented or published it will be jointly authored with my guide. SUNIL KUMAR JETWANI V Year B.Arch (C) Aayojan School of Architecture, Jaipur
CERTIFICATE This is to certify that the research titled ROLE OF LIGHT IN FILM AND TELEVISION STUDIO is a bonafide work by SUNIL KUMAR JETHWANI. of Aayojan School of Architecture, Jaipur. This research work has been completed under my guidance and supervision in a satisfactory manner. This report has been submitted in partial fulfillment of award of BACHELOR OF ARCHITECTURE degree from Rajasthan Technical University, Kota. This research work fulfills the requirements relating to the nature and standard laid down by the Rajasthan Technical University. Prof. SANJEEV PAREEK Guide Aayojan School of Architecture
ii
ACKNOWLEDGEMENT I would like to express my sincere gratitude to our principal Prof. K.S. Mahajani our dean Prof. N.S. Rathore and other staff members for their co-operative support and also presenting me with an opportunity to write this dissertation.
Passport Size Photograph
I wish to express my profound gratitude to my dissertation guide Prof. Sanjeev Pareek for his valuable advice, encouragement and helpful criticism throughout the course of this work. I extend my thanks to my classmates and friends Vishal Gandhi and Shrey Khandelwal for all kinds of help received from them. Lastly, I would also like to thank my family and friends for supporting and boosting my confidence. At the and, I feel happy and satisfied with my efforts and the final product
SUNIL KUMAR JETHWANI V Year B.Arch. (C) Aayojan School of Architecture, Jaipur
iii
CONTENTS Page No. Approval
i
Declaration
ii
Acknowledgement
iii
Contents
iv-v
List of illustrations
vi-viii
List of table’s
viiii
CHAPTER 1: INTRODUCTION 1.1
Background of the study
1.2
Criteria of selection
1.3
Hypothesis
1.4
Aim
1.5
Objectives
1.6
Scope
1.7
Limitation
1.8
Methodology
1-5
CHAPTER 2: LIGHT AND IT’S QUALITIES 2.1
Light And It’s Qualities
2.2
Illuminance
2.3
Luminance
2.4
CRI
2.5
Studio Lighting
2.6
Types of Suspension
2.7
Studio Lighting Luminaires
CHAPTER 3: CINEMA ARCHITECTURE AND STUDIO 3.1 Relationship of Cinema And Architecture 3.2 Studios and Process of Film Making 3.3 Attributes of Studio Lighting 3.4 Principles Of Studio Lighting 3.5 High Key and Low Key Lighting System
iv
6-15
16-24
CHAPTER 4: CASE STUDY
25-31
4.1 Live Case Study Doordarshan Kendra Jaipur 4.2Literature Study- BBC Studio, Scotland]
CHAPTER 5 ANALYSIS
32-40
5.1 Quality Analysis of Studio Lighting 5.1.1 Use of Light as a Means of Direction 5.1.2 Relating Spaces through Light 5.1.3 To enhance the overall experience of cinema 5.2 Physical Analysis of Studio Lighting
CHAPTER 6 CONCLUSION AND RECOMANDATION
41-43
6.1 Conclusion 6.2 Design Guideline & Recommendations for Studio Spaces
GLOSSARY OF TERMS
ix-x
BIBLIOGRAPHY
xi
v
LIST OF ILLUSTRATIONS
Figure -1
Figure -2
Title
Source
Studio Black Maria and Sony Studio
Emma Rose Productions
Prabhat Studio
Page No.
2
https://goo.gl/Qsp72s
Prabhat Film Company
3
https://goo.gl/RTiQmY
Figure -3
Visible Light Spectrum
Sorcatic
7
https://goo.gl/7GP5iG
Figure -4
Figure -5
Color Temperatures in Kelvin Scale
Monopole System
Loucas Panagiotidis
8
https://goo.gl/KJa8Fn
Strand Lighting Handbook
11
https://goo.gl/aE7Yti
Figure -6
The Motorised Hoist
Strand Lighting Handbook
11
https://goo.gl/aE7Yti
Figure -7
Track and Barrel System
Strand Lighting Handbook
12
https://goo.gl/aE7Yti
Figure -8
Lightrig System
Strand Lighting Handbook
12
https://goo.gl/aE7Yti
Figure -9
Fixed Barrel System
Strand Lighting Handbook
13
https://goo.gl/aE7Yti
Figure -10
ERS Spotlight
Vincent Lighting Systems
13
https://goo.gl/7KmqZn
Figure -11
Fresnel Spotlight
Vincent Lighting Systems
14
https://goo.gl/7KmqZn
Figure -12
Border Light
Vincent Lighting Systems
14
https://goo.gl/7KmqZn
Figure -13
Dual Purpose Light
Vincent Lighting Systems
15
https://goo.gl/7KmqZn Figure -14
Dual Wattage Light
Vincent Lighting Systems
vi
15
https://goo.gl/7KmqZn Figure -15
Relationship between cinema and architecture
Figure -16
Scene from Movie Inception
Self
Movie: Inception
17
18
https://goo.gl/SZH5vi Figure -17
Architecture Space and Film Space
Self
18
Figure -18
Process of Film Making
Self
19
Figure -19
Three Point Lighting System
Stmarks Media Blog
22
https://goo.gl/KTa3Gu
Figure -20
Key Light
Film and TV lighting techniques
23
https://goo.gl/RDbE5Y
Figure -21
Fill Light
Film and TV lighting techniques
23
https://goo.gl/RDbE5Y
Figure -22
Figure -23
Figure -24
Key, Fill and Backlight on situation
Film and TV lighting techniques
Difference between High Key and Low Key Light
Film and TV lighting techniques
Different Lighting Style
23
https://goo.gl/RDbE5Y
24
https://goo.gl/RDbE5Y
Film and TV lighting techniques
24
https://goo.gl/RDbE5Y Figure -25
Doordarshan Kendra, Jaipur
Self
26
Figure -26
Floor Plans Studio A Main
Self
27
Figure -27
Photographs Studio A(Main)
Self
27
Figure -28
Plan News Studio
Self
28
Figure -29
Working Flow Chart of Studio
Self
29
Figure -30
Scene from a T.V. Series shot in BBC Studio
BBC Studio Blog
30
Plan of BBC Studio
BBC Studio Blog
Figure -31
https://goo.gl/aOe8nRj
vii
30
https://goo.gl/aOe8nRj
Figure -32
BBC Interview Studio Plan
BBC Studio Blog
31
https://goo.gl/aOe8nRj
Figure -33
Harry Potter and The Deathly Hallows Part 2 via Warner Bros.
Figure -34
BBC Interview Studio
Harry Potter Wiki
33
https://goo.gl/HHvMVe
BBC Studio Blog
33
https://goo.gl/aOe8nRj
Figure -35
Figure -36
Figure -37
Scene From Movie Catwoman
Tumblr
Movie Scene showing Movement
Tumblr
34
https://goo.gl/vQYpuk
34
https://goo.gl/vU7ulo
Strand Lighting Handbook
Set of an Orchestra
35
https://goo.gl/aE7Yti
Figure -38
Strand Lighting Handbook
Set of a TV Show
36
https://goo.gl/aE7Yti
Figure -39
Figure -40
Studio of Documentary with 3 Different sets
Scene of a room
Cinema and Lighting Blog
36
https://goo.gl/aEtguI9
Cinema and Lighting Blog
37
https://goo.gl/aEtguI9
LIST OF TABLES
Table 1: CRI Index and CCT for Different Light Source………………………………………9 Table 2: Physical Analysis Table……………………………………………………..…….……..39 Table 2: Physical Analysis Table…..…………………………………………………..……....…..40
viii
CHAPTER 1: INTRODUCTION
1.1 BACKGROUND OF THE STUDY 1.2 CRITERIA OF SELECTION 1.3 HYPOTHESIS 1.4 AIM 1.5 OBJECTIVES 1.6 SCOPE 1.7 LIMITATION 1.8 METHODOLOGY
Role of Light in Film and Television Studio
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Figure 1 Studio Black Maria and Sony Studio
Set construction is undoubtedly one of these moments of intersection. Allowing for great control over shooting conditions, sets built in closed studios enable the possibility of getting rid of limitations related to the climate, lighting and eventual setbacks that may occur in shooting in "real" environments. Prabhat Film Studio, Pune was one of the first film studio in India which was equipped with all the modern facility of that time .studio was founded in 1929 currently the studio is under the premises of the FTII Pune campus. Other famous studios from India are Rk Studio, YashRaj Studio, Mehboob Studio and Filmistan
Figure 2: Prabhat Studio 1929
1.2 CRITERIA OF SELECTION 1.2.1 DOORDARSHAN STUDIO, JHALANA DONGARI DDK Jhalana has been selected as for the primary case study as it is one of the best and well-equipped studio in Rajasthan DD Studio is equipped with all the modern facilities. DDK Jhalana has 2 Studio one is Film and Television studio and second is interview studio. 1.2.2 BBC STUDIO, SCOTLAND BBC is one of the biggest broadcasting company in world BBC Studio, Scotland has two types of studio one is multipurpose studio which is used to shot big movies documentary and television series. Second is interview Studio Many other films are taken as secondary cases to understand the importance of lighting and its impact on the audience.
Role of Light in Film and Television Studio
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1.3 HYPOTHESIS “Light is an essential tool to enhance the quality of space for better cinematic experience.” 1.4 OBJECTIVE
To understand artificial light and its role.
To study the relationship between cinema and architecture and evolution of studio lighting
To study the process of filmmaking different departmental activity in the studio
To study different architectural elements of studio lighting
To analysis the impact of studio lighting on quality of space
Design consideration for studio design
1.5 SCOPE
The opportunity is to demonstrate the importance of light in cinema and light enhancing the quality of space for better cinematic experience.
Introduction to lighting, as well as different techniques of light
1.6 LIMITATION
The study is limited to the film and television studio.
There is no use of natural lights in the studio so the study is limited to the artificial lighting
The study is limited to the quality of light technical aspect of studio lighting are limited
1.7 METHODOLOGY To study and analyse the existing building examples
Live Case Study
Doordarshan Kendra Jaipur
Literature Case Study Role of Light in Film and Television Studio
Page 4
ï‚·
BBC studio, Scotland
Role of Light in Film and Television Studio
Page 5
CHAPTER 2 2.1 LIGHT AND IT’S QUALITIES 2.2 ILLUMINANCE 2.2.1 LUX LEVEL REQUIRED IN STUDIO 2.3 LUMINANCE 2.4 CRI 2.5 STUDIO LIGHTING 2.5.1 INTENSITY 2.5.2 ANGLE 2.5.3 TEXTURE LIGHT 2.5.4 COLOR 2.6 TYPES OF SUSPENSION 2.6.1 MONOPOLES 2.6.2 THE MOTORISED HOIST 2.6.3 TRACK AND BARREL SYSTEM 2.6.4 LIGHTRIG SYSTEM 2.6.5 FIXED BARREL SYSTEM 2.6.6 ANCILLARY LIGHTING 2.7 STUDIO LIGHTING LUMINARES Role of Light in Film and Television Studio
Page 6
2.1 LIGHT Light is the narrow band of electromagnetic radiation to which the human eye is sensitive. There are no exact boundaries to the range of visible light, as individuals differ. Naturally, human eyes are receptive to a range of wavelengths of light between 400-700 nanometres, as shown on the figure
Figure 3: Visible Light Spectrum
2.2 ILLUMINANCE Illuminance is the amount of light that falls on a surface, measured in footcandles or lux. It is independent of the material property of the surface or object. Illuminance is important in architecture as it is what gives form its perceptible qualities to the human eye, and gives depth to space. It allows us to navigate through space, as well as perform tasks in space. Levels of illuminance can also be used to create the hierarchy in space, through varying in lighting levels. 2.2.1 LUX LEVEL REQUIRED IN A STUDIO When studio lighting was first introduced, then 3,000 lux of light were required in studios. As more light sensitive cameras were introduced, this level kept dropping.
Role of Light in Film and Television Studio
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TV cameras need at least 1000 lux (about 90 FC) of light to produce good quality video in the middle of the Today, many on-location shoots are done with as little as 30 foot-candles (about 300 lux) of light
2.3 LUMINANCE Luminance is the amount of light reflected back to the human eye from a surface. It is measured in foot-lambert or candela per square meter and is dependent upon the material color and surface texture. Luminance plays a large role in material selection in architecture, as the color of surfaces can have a large effect on how light is distributed around the space. The correlated color temperature (CCT) is a specification of the color appearance of the light emitted by a lamp, relating its color to the color of light from a reference source when heated to a particular temperature, measured in degrees Kelvin (K). The CCT rating for a lamp is a general "warmth" or "coolness" measure of its appearance. However, opposite to the temperature scale, lamps with a CCT rating below 3200 K are usually considered "warm" sources, while those with a CCT above 4000 K are usually considered "cool" in appearance.
Figure 4: Color Temperatures in Kelvin Scale
Role of Light in Film and Television Studio
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In studios, the range used in lighting is from 2600K (white light with a high red content) to 6000K and cameraman must make use of filters to modify the colour temperature of studio luminaire.
2.4 CRI Color Rendering Index (CRI) describes how a light source makes the color of an object appear to human eyes and how well subtle variations in color shades are revealed. The CRI is a scale from 0 to 100 percent indicating how accurate a "given" light source is at rendering color when compared to a "reference" light source. The higher the CRI, the better the color rendering ability. Halogen is considered the “reference” light source and has a CRI of 100. CRI of 100 in an LED source has not yet been developed. CRI in the 90’s is possible but very expensive. Fluorescent lamp sources are considered very poor in CRI running in the low 70’s. A CRI index >80 is considered very good Table 1- CRI Index and CCT for Different Light Source
Role of Light in Film and Television Studio
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2.5 STUDIO LIGHTING Intensity
Architectural Lighting and Film Lighting both start with the two primal lighting sources, fire and daylight. As technology developed from the oil lamp, to gas lighting, to electrical
Angle
lighting, many different types of lights, with different color
Four attributes of Studio Lighting
temperatures and strengths, became available for studio.
Texture
Colour
2.5.1 INTENSITY Intensity is the easiest attribute to comprehend. It’s the brightness of the light. The amount of brightness coming out of a light unit is measured in lumens. In studio measure the light illuminating our subject by foot-candles. 2.5.2 ANGLE The angle is the direction from which the light strikes subject. The angle of the light provides the angle of the shadows. Shadows are dramatic. In general, the more shadows, the more dramatic a look; the fewer shadows, the less dramatic the look. 2.5.3 TEXTURE LIGHT Light from the sun and light from a point source has a hard texture. In other words, it will throw harsh shadows on whatever it hits. The harder the light, the further it “travels” before falling off. 2.5.4 COLOR The three primary colors of light are red, blue, and green. All other colors can be made from a mixture of these three. When these three colors of light are mixed equally, they will render a “full spectrum” white light
Role of Light in Film and Television Studio
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2.6 TYPES OF SUSPENSION 2.6.1 MONOPOLES Single point suspension involves an overhead lighting grid system which provides a working platform for the studio electricians with the luminaires suspended from the grid on a telescopic device which permits variation in height and freedom of movement for positioning the luminaire at the required place in the set. The overhead grid is an integral part of the studio construction and is incorporated in the design of the studio from the outset. The grid is divided into sections by continuous slots that run the length of the studio at intervals of around lm. Figure 5: Monopole System
2.6.2 THE MOTORISED HOIST It consists of a length of barrel supported by wire ropes and connected to a motor winch mounted in the studio roof. Power outlets for connecting the luminaires mounted into a frame above the barrel and power cables housed in a collapsible tray which folds and unfold as the barrel height is altered. The barrels are generally 2 .4m long and the luminaires attached to them by clamps or on small wheeled trolleys which give the additional possibility of lateral positioning of the luminaire. The hoists are placed at regular intervals along the length and across the width of the studio to enable luminaires to be fixed at almost any required position in the studio. Figure 6: The Motorised Hoist
Role of Light in Film and Television Studio
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2.6.3 TRACK AND BARREL SYSTEM Smaller studios, particularly of limited height, are ideally suited for the track and barrel system. This consists pairs of tracks mounted directly under the studio ceiling. The number of pairs of tracks is determined by the studio width. The barrel is fitted with a roller carriage at each end which runs in the tracking, enabling the barrel to be moved along the length of the
Figure 7: Track and Barrel System
studio. 2.6.4 LIGHTRIG SYSTEM This suspension system is a variation on the track and barrel grid, but it is much more flexible as the traversing tracks can be adjusted diagonally across the primary track, providing a greater combination of luminaire positions, with the added advantage that fewer traversing tracks are required. Moreover, the traversing track can travel through its supporting carriages to provide an extended overhang outside the normal primary supports, as well as extra positions for luminaires in inaccessible places. Lightrig is a flexible system, ideal for small studios where the height is comparatively restricted
Figure 8: Lightrig System
2.6.5 FIXED BARREL SYSTEM This is the simplest form of installation and one that is adequate for presentation studios or small to medium size studios where a fixed lighting installation can be used, as for example when the same sets are used for lightrig each production
Role of Light in Film and Television Studio
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or with very little change in the scene. At its simplest, the fixed barrel system comprises scaffold barrels mounted across the full width of the studio just below the studio ceiling. The luminaires are attached to the barrels with clamps and little or no attempt is made to provide facilities for height variation or lateral movement Figure 9: Fixed Barrel System
2.6.6 ANCILLARY LIGHTING Although generally the studio will be rigged with the necessary luminaires, there are occasions when other luminaires will be used. Certain effects can only be achieved by luminaires at studio floor level, e.g., fire flicker, water rippling. As well as effects, it is often desirable to use soft and hard sources at floor level. In particular, soft lights can be at their most effective when square to a subject. When planning the studio this must be taken into account and it is therefore necessary to supply floor stands to support the equipment. Other than these lights at floor level, there is the need to rig luminaires on the top of scenery flats which will require special clamps.
2.7 STUDIO LIGHTING LUMINARE 2.7.1 ELLIPSOIDAL REFLECTOR SPOTLIGHT (ERS) The ERS is a fixture with an elliptical-shaped reflector to gather and direct light from a single-point source.The light is directed through a tube with one or more lenses. It provides a sharp circular beam of light. ERS are equipped with four internal shutters that allow the user to control the beam of light by shuttering off walls, scenery, etc. ERS are most commonly used for projecting medium to long distances. Wattage is typically 575 watts, but can range from 375 watts Role of Light in Film and Television Studio
Figure 10: ERS Spotlight
Page 13
Figure 11: Fresnel Spotlight
Figure 12 Border Light
2.7.4 DUAL PURPOSE This device is a combination of a hard and soft source in one unit and is available in dual wattage versions as well. By its very nature the dual purpose luminaire offers far greater flexibility than conventional luminaires and saves time during rigging and studio operation. Because of its dual function the luminaire is more complex than the conventional hard and soft sources in general use, and together with the increase in weight may pose limitations in handling and design of the studio suspension system Figure 13 Dual Purpose Light
2.7.5 DUAL WATTAGE Dual filament lamps are produced so that either filament can be used independently or, by addition, different power combinations are achieved, i.e. l .25kW or 2.5kW filaments when combined give 3.75kW and spread of light. it allows the same luminaire to be used as a standard throughout the studio
Figure 14 Dual Wattage Light
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CHAPTER 3 CINEMA ARCHITECTURE AND STUDIO
3.1 RELATIONSHIP OF CINEMA AND ARCHITECTURE 3.1.1 ARCHITECTURE IN CINEMA 3.1.2 ARCHITECTURAL SPACE AND FILM SPACE 3.2 STUDIOS AND PROCESS OF FILM MAKING 3.2.1 FACILITIES AND SPACE REQUIRED IN FILM MAKING 3.3 ATTRIBUTES OF STUDIO LIGHTING 3.3.1 USE OF LIGHT AS MEANS OF DIRECTION 3.3.2 LIGHT AS RELATING SPACE 3.3.3 TO EMPHASIS ARCHITECTURAL ELEMENT 3.3.4 TO EMPHASIS ARCHITECTURAL ELEMENT 3.4 PRINCIPLES OF STUDIO LIGHTING 3.4.1 THREE POINT LIGHTING 3.4.2 FOUR POINT LIGHTING 3.5 HIGH KEY AND LOW KEY LIGHTING SYSTEM 3.5 1 HIGH KEY LIGHTING 3.5.2 LOW KEY LIGHTING
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3.1 RELATIONSHIP OF CINEMA AND ARCHITECTURE The relationship between architecture and cinema is one of reciprocity architecture is a spatial construction in which time is embedded, and cinema a temporal construction in which space is embedded according to Thomas Forget (author of The Construction of Drawings and Movies) Filmmakers, with the help of production designers, art directors, location managers, and other members of cast and crew, insert architecture into their films. On a practical level, architecture sets a scene, conveying information about plot and character while contributing to the overall feel of a movie.
Figure 15: Relationship between cinema and architecture
3.1.1 ARCHITECTURE IN FILM Architecture can be used cinematically in two different ways Expressionist films. When the technology was highly expensive and limited to black-and-white and no sound, symbolic movements of characters and canvas drawings of buildings and landscapes were used in order to bring the action, as in Fritz Lang's Metropolis. Realistic films, both in contemporary architecture that we see in Antonioni's films and in surrealistic (artificial) films like sci-fi or horror, as in Ridley Scott's Blade Runner. In either case of the above, the intent is to create an experience derived from the film by using the filming techniques in interplay between architecture and the characters
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When architecture brought to the foreground in cinema it has the ability to greatly transform and aid the narrative. Christopher Nolen in Inception uses architecture and architect to describe the world, one which is not entirely subject to normal constraints – a place where architecture manipulated with imagination, In this movie architecture is more than a background element.
Figure 16: Scene from Movie Inception
3.1.2 ARCHITECTURAL SPACE AND FILM SPACE Space in the film is the world within a frame. Filmic space is reconfigured space from the visual cues that we receive on screen. Cinema constructs space in the mind it’s a perception and experience of space with our inherent knowledge, contextual acclamation, past memories and mind space.
Figure 17: Architecture Space and Film Space
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In architecture, the term space has a greater importance than it does in cinema. In architecture, space in one of the key building of the block and at the same time the final product. Architecture space are lived spaces with the combination of external space and inner mental space, where memory and dream, fear and desire value and meaning, fuse with the actual perception
3.2 STUDIOS AND PROCESS OF FILMMAKING Making of movie consists of complex processes with different individuals or departments working. All of these individuals and department works together under a film director and is also known captain of ship. All the processes are divided into three steps according to their execution i.e.
Figure 18 Process of Film Making
Production - Work of film actually starts from this phase. During this phase, raw footage for film is recorded. More crew members like property master, script supervisor, assistant director etc are recruited. A typical day of shooting starts with the arrival of technical crew members like lighting persons, art director, dress supervisors etc in a set or location as they have to prepare the set/location for shooting.
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Post-production- In this phase of filmmaking final touch is given to the movie like an assembly of raw footage, editing and dubbing of dialogue, visual effects etc and finally all sound elements are mixed and the movie is fully completed Distribution - In this phase, the movie is finally released in cinemas or occasionally to media in the form of DVD, CD, VHS, Blue ray or direct download from the internet website Development - This is the first and the most important step of filmmaking. During this step, the idea of film is generated. That may be an original idea or may be derived from somewhere like novels, story, existing movie but an old one and the story is written. The next step in the development phase is to arrange the finance necessary for the movie. Pre-production - During this phase of filmmaking preparations are made for film making. Cast and crews are hired, location is finalized and permissions are taken and sets are built for indoor shooting of the film. To control all these activities and all other activities during filmmaking and promotions a production office is established which controls all the activities 3.2.1 FACILITIES AND SPACE REQUIRED IN FILMMAKING Motion picture making facilities While going through the phases of film making i.e. from the development phase to the distribution phase different facilities are needed like office space for establishing production office, indoor and outdoor shooting area, green studios etc. so that film can be completed in an effective way. Following are the facilities needed for the completion of any motion picture and are arranged according to the phases of making a motion picture. Pre-production facilities 
Office space
Role of Light in Film and Television Studio
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Production facilities
Workshops
Dressing room
Animation studio
Equipment rental
Sound stage
Post production facilities
Post-production studio
Photography studio
Film development lab
3.3 ATTRIBUTES OF STUDIO LIGHTING 3.3.1 USE OF LIGHT AS MEANS OF DIRECTION Brightness is the key to creating movement with light. The brightest view in a space catches ones attention first the ability of light to attract attention is often used to indicate movement, there are many other cases in which its pointing-out ability is utilized, In studio lighting is the key element to use of light as means of direction. Light is used to create focus to show movement 3.3.2 LIGHT AS RELATING SPACE Architectural space is an enclosure, in which light plays an important role. Such light has many characteristics. It is especially evident on an exterior wall, where inside and outside meet. Light can be used here to emphasize the connection or separation between the two. Light can also connect or separate interior spaces. 3.3.3 TO EMPHASIS ARCHITECTURAL ELEMENT Architecture is an essential part of cinema. For cinema, temporary or permanent structures are made and to look them real and more attractive right kind of lighting
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Figure 19: Tree Point Lighting System
Figure 21: Key Light
Figure 20: Fill Light
3.5 HIGH KEY AND LOW KEY LIGHTING SYSTEM High key and low key lighting essentially refers to the relationship between the key and fill light the relation of key to fill light is described with the contrast ratio if the contrast ratio is high then the key is much stronger than the fill, producing deep dramatic shadow
Figure 23 Difference between High Key and Low Key Light
3.5.1 HIGH KEY LIGHTING High key lighting has a minimal contrast between light and dark areas. There are minimal shadow and an even distribution of light. 3.5.2 LOW KEY LIGHTING Low key lighting has a high contrast between dark and light areas. There is an uneven distribution of light and shadow ideal for horror scene.
Figure 24 Diffrent Lighting Style
Role of Light in Film and Television Studio
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CHAPTER – 4
4.1 LIVE CASE STUDY DOORDARSHAN KENDRA JAIPUR 4.1.1 STUDIO A (MAIN) 4.2.2 STUDIO B (NEWS) 4.2.3 COMPONENT OF STUDIO 4.2 LITERATURE STUDY- BBC STUDIO, SCOTLAND 4.2.1 STUDIO 1 MAIN 4.2.2 STUDIO 2 INTERVIEW STUDIO
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4.1 Live case study Doordarshan Kendra Jaipur Doordarshan Kendra Jaipur is part of the DD India, the largest television network in the world. Doordarshan Jaipur is the only Programme Production Center in the Rajasthan. Presently this Kendra originates over 4hrs of daily programming in Hindi & Rajasthani and a daily news bulletin.
Figure 25 Doordarshan Kendra, Jaipur
Doordarshan have their own shooting studio and studio hall is used to shoot various programmes. Studio hall contains many devices for shooting. Like lighting, microphone, makeup room, Furniture, Cameras and sound absorbers. DD Rajasthan produce their own programmes like “DHARTI DHORAN RI” and “KHABRE KHETI KI "and also “EMLOYMENT NEWS” in this studio There are two types of studios at Doordarshan Kendra, Jaipur 4.1.1 Studio A (Main) 4.2.2 Studio B (News)
In studio A is required four cameras. Studio A is use for recording of television programmes, films and documentaries.
In studio B is required two cameras. Studio B is use for News recording & regional transmission and it’s a very small studio.
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Figure 26 Floor Plans Studio A Main
Figure 27 Photographs Studio A (Main)
Studio B
Studio B is 6x6 m room which is used for news reading
3 Point Lighting System is used
It’s Chroma studio so background scene can be change
Fixed bareel system is used
4.3.3 COMPONENT OF STUDIO Camera Control Room – In Studio A 4 cameras were installed and camera room adjacent to studio was provided. which was sufficient for 4 cameraman’s Lighting - In Studio mainly three point lighting technique is used. Role of Light in Film and Television Studio
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Figure 28 Plan News Studio
Background Light is used to highlight the background of the scene or to create colour background on white. Overhead lighting suspension system was also provided to control the height of lights. Lighting in the studio was very well designed and Doordarshan studio was well equipped with lighting instrument Store Room – A store for different types of equipment’s was provided like microphone wires and cable. Vision mixer and Audio consoles - A separate Room was provided in which different camera scene were shown at different monitor’s to check the final output Ventilation - The powerful lighting system used in studios dissipate a lot of heat to the studio. To reduce heat powerful artificial ventilation system is required so air conditioned system was installed in studio and which also helps in noise reduction Noise Reduction Noise reduction is major concern in studio •
Studio was isolated from other parts of working area
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Acoustical Door and windows were installed
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Walls and roof was insulated with sound absorbing material
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Studio was Artificial ventilated which also helps in noise reduction
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Figure 29: Working Flow Chart of Studio
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Figure 30 Scene from a T.V. Sereies shot in BBC Studio
4.2.2 STUDIO 2 INTERVIEW STUDIO In the interview studio of BBC Scotland one point light is used and single suspension system is used to interview hall is equipped with 3 camera and 2 key light source A and B.
Figure 32 BBC Interview Studio Plan
In case study of bbc interview studio key light is being used to keep interviewer and interviewee in focus. Interviewer’s key light is back light for interviewee and interviewee key light is back light for interviewer. Single point suspension system is used in studio Lux level in studio is 1500 there is only one point light is used to highlight the object
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CHAPTER 5 : ANALYSIS
5.1 IMPACT OF STUDIO LIGHTING ON QUALITY OF SPACE IN CINEMA 5.1.1 LIGHT THAT CREATES A FOCUS USE OF LIGHT AS A MEANS OF DIRECTION LIGHT THAT CREATES A BACKGROUND LIGHT THAT ENCOURAGES MOVEMENT 5.1.2 RELATING SPACES THROUGH LIGHT CONNECTING SPACES THROUGH LIGHT SEPARATING SPACES THROUGH LIGHT DIFFERENTIATING SPACES THROUGH LIGHT 5.1.3 TO ENHANCE THE OVERALL EXPERIENCE OF CINEMA EMPHASIZING ARCHITECTURAL FEATURE VISUAL CLERITY 5.1.4 PSYCHOLOGICAL EFFECTS OF LIGHTING 5.2 PHYSICAL ANALYSIS OF STUDIO LIGHTING
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Figure 33: Harry Potter and The Deathly Hallows Part 2 via Warner Bros.
Figure 34: BBC Interview Studio
Figure 36: Movie Scene showing Movement
Inference It is seen in different cases in studio’s where more attention is pay towards the back ground and foreground of lighting produce good quality of cinema. Key Light, Fill Light and Back light are key element for direction of light. The hierarchical order in a space can be stressed with the help of light, continuous visual information Light sources can be arranged in a way that they form an order or they create a
focus on an object or a part of space, which influences movement.
5.1.2 RELATING SPACES THROUGH LIGHT Architectural space is an enclosure, in which light plays an important role. Such light has many characteristics. In a studio light can be used to emphasize the connection or separation between the two spaces. Light can also connect or separate interior spaces. When the lighting conditions of film and television studio change the perception of that studio changes automatically. CONNECTING SPACES THROUGH LIGHT In a studio different spaces can be connected with different lighting style like in an orchestra scene different stages are connected through different lighting style.
Figure 37 Set of an Orchestra
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SEPARATING SPACES THROUGH LIGHT Light again can be used, when a separation needed. Artificial light can separate two spaces in a indoor studio. with the help of difference in lux level of light. Color plays an important role in all these kinds of separation, especially in the ways that are used for spatial effects. In the given example a studio with audience and performer is segregated through different lighting level
Figure 38 Set of a TV Show
DIFFERENTIATING SPACES THROUGH LIGHT It's possible to characterize different places through light in a total space. It is a kind of classification derives from the functional differences. Light here again is a tool that establishes the spatial relations and the dynamics that are needed to experience the space. In order to create different auras in a total space through light, different lighting qualities need to be generated
Figure 39 Studio of Documentary with 3 Different sets
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INFERENCE
Different lux levels in light can segregate or connect different spaces in a studio
Colour plays an important role in all these kinds of separation in space
Multiple sets can be arranged in studio with different kind of activity with the help of in lighting
Controlling of light is needed in segregating or connecting spaces
5.1.3 TO ENHANCE THE OVERALL EXPERIENCE OF CINEMA One of the key features of studio light is to enhance the overall cinema experince of viewer and giving them a better final image EMPHASIZING ARCHITECTURAL FEATURE Movies set are generally temporary structure so it’s important to pay special attention to them so they don’t look unreal in movie so the light are used in such a way they enhance the quality of scene. Generally sets are built on small scale so lighting is used to create illusion so the lo0ok large in movie In these image column is shown in emphasis by providing right kind of light
Figure 40 Scene of a room
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VISUAL CLERITY Different lighting styles and lighting is used to create a better cinema experience. Visual clarity is key aspect of this in earlier days of cinema when proper light source was not invented quality of cinema was not good. To remove distortion and noise from scene a particular lux level is needed. INFERENCE 
To enhance the architecture qualities of set in studio proper lighting system are needed
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Standard lux levels are needed for better quality of output
5.1.4 PSYCHOLOGICAL EFFECTS OF LIGHTING Film lighting is a formal element that is used to create a mood, perception, attention, illusion, and feeling, among many other human cognition manipulations. It is a structural feature that as an impact on the content and creates media effects. It changes psychological perception of people, places, and events, affecting interpretation and emotional response, just as architectural lighting design causes varying human moods and behaviours Lighting designers think about psychological response and how behaviour is affected by lighting. Some examples are: 1. Visibility of vertical and horizontal junctions aids orientation. 2. People follow the brightest path. 3. Brightness can focus attention. 4. Facing wall luminance is a preference. 5. Lighting can affect body position. 6. Our mood or moods are influenced by our surrounding environment.
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CHAPTER 6 CONCLUSION & RECOMMENDATIONS
6.1 CONCLUSION 6.2 DESIGN GUIDELINE & RECOMMENDATIONS FOR STUDIO SPACES 6.2.1 DESIGN 6.2.2 PROPORTIONS AND SHAPE OF STUDIO 6.2.3 STUDIO HEIGHTS 6.2.4 AIR CONDITIONING AND MECHANICAL VENTILATION
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6.1 CONCLUSION Light sources and lighting techniques have today developed into a rich and complex profession of its own. This evolution, caused by technological advances, has enhanced the cinema experience give user a more realistic experience. 1. Light enhancing the quality of space - Light could determine the relations between spaces, individual and objects as an influential tool for cinema it is possible to create spatial relations through the light when it is manipulated consciously. As an essential part of space, light both natural and artificial could create intended dynamics in space. It is not meant to state that conscious design is the reason that results at this point. Light is actively involved in every part of cinema. It is the undeniable ingredient and the basic component for the spatial creation. 2. Light for better cinema experience Light is an essential tool to enhance the quality of space for better cinematic experience through research analysis it is been seen that light is important aspect of enhancing space quality which enhance the user experience 3. Light is secondary element for designing a studio Light cannot be a key element in designing of film and television studio it is an essential part for studio and lighting considerations are taken as a secondary element in designing a film and television studio 4. Light is an essential element to bring emotion in cinema through different lighting styles Joy, Horror, and Drama scenes are created from the early days of cinema lighting has been important aspect of studio
6.2 DESIGN GUIDELINE FOR STUDIO SPACES Following are the recommendations made to improve enhance the quality of space for better cinematic experience and measures that convince during designing of the studio 6.2.1 INTEGRATION OF VARIOUS ACTIVITIES THROUGH PLANNING The integration of other design elements and services should be chosen and implemented carefully. Space like film and television studio consists of many Role of Light in Film and Television Studio
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departments and various activities which are mentioned in research work so consideration of all the elements of a studio is necessary while designing studios. 6.2.2 PROPORTIONS AND FLEXIBILITY Though lights do not have any impact on the shape of studio lights can be installed anywhere in a studio there is no strict guideline for shape of studio but through research it seen that studio shape is generally rectangular 1:1.61 ratio is preferred because it brings balance and height in space due to flexible use of studio space which brings more functionality in space. 6.2.3 CLEAR CEILING HEIGHT FOR THE STUDIO The studio set up must be flexible enough to provide room for the suspension grid. Lighting in a television studio influences the viewer’s interpretation of size, shape, distance, texture and even pictorial environment of the overall picture. Generally, suspension systems have a height of 1.8m and 1m clear space for mechanical and ventilation is required so studio with barrel suspension system should have a minimum height of 7m 6.2.4 AIR CONDITIONING AND MECHANICAL VENTILATION IN THE STUDIO The powerful lighting system used in the television studios dissipates a lot of heat to the studio. This heat output must be reduced by an effective artificial ventilation system. It therefore becomes essential to use chilled air supply air - conditioning system to lower down the temperatures to comfortable levels.
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GLOSSARY OF TERMS Brightness subjective impression of light reaching the eye. Subjective brightness does not vary directly with measured brightness
Brightness ratio ratio between two measured brightness of two elements in a visual Field
Chroma purity or saturation of color
Color contrast relationship between the color of an object or area of interest and that of its immediate surround
Contrast relationship between brightness or color of an object and its surrounding
Down lighting with a small lighting fixture which directs light downwards
Flood lighting washing the facades of a building from outside with powerful light Sources
Fluorescent lamp discharge lamp that emits electron arc stream from cathodes at ends. Fluorescent phosphor coating inside of bulb transforms ultraviolet energy into visible light
Glare harsh, uncomfortably bright light source or reflection which interferes with visual perception. Light from the wrong place at greater brightness than that to which eyes are adapted
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Hue classification of color. Red, yellow, green, blue, and purple are the primary hues in the Munsell color system
Illusions some techniques for light use, which aims to fake viewers perception
Incandescent lamp lamp in which light is produced by heating filament by means of an electric current
Reflector a device used to redirect light from a source
Texture pattern of highlight and shadow
Value lightness or darkness of color, measured by scale from perfect white (10) to perfect black (0)
Wavelength distance between two similar points of given wave. Unit of measure for Wavelengths of light is the nanometre
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BIBLIOGRAPHY
Lighting for TV and Film, Third Edition Book by - Gerald Millerson (Focal Press Publication, 1999)
Lighting For Television – An Eight Part Guide Lighting Handbook by Strand Lighting, 2007
Interior Lighting for Designers, 3rd Edition Book By - Gary Gordon, James L Nuckolls (New York : J. Wiley, 1995)
The Construction of Drawings and Movies: Models for Architectural Design and Analysis Book by - Thomas Forget (Routledge Publication New York, 2013)
P. C. Hughes, "An Examination of Visual Clarity as a Function of Color Temperature of Light Sources", Lighting Design and Application , 1977
Lighting Techniques for Television and Film, 2012 http://www.dsource.in/sites/default/files/course/lighting-techniquestv/downloads/file/lighting-techniques-tv.pdf
Low Energy Lighting Guide for TV Productions by BBC, 2011 https://downloads.bbc.co.uk/outreach/BBC_LEL_Guidelines.pdf
Film and Television Lighting Handbook by Kino Flo, 2014 http://www.tlu.ee/~rajaleid/manuals/Kinoflo_lighting_handbook.pdf
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