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Lighting for Digital Video
and Television

This book gives a comprehensive overview of lighting equipment and

techniques for digital production. Suitable for either beginners or more
advanced users, the fully updated fourth edition covers human sight vs.
film or video, the basic issues of contrast and exposure, with explanation
of how exposure of digital video differs from analog video or film, electrical
connectors, requirements, electrical load management, safety issues, and
the latest LED systems.
A variety of basic lighting setups for different situations are explained,
with clear diagrams and photos showing the “look” of each approach.
Techniques for shooting in available light and dealing with color problems
in mixed lighting situations is examined. More advanced film-style lighting
is covered, especially techniques in creating a convincing realistic look. A
special section deals with solutions to common problems, ranging from
reflections on glasses and dealing with white walls, to lighting very light-
skinned and very dark-skinned subjects in the same shot. Special lighting
situations, such as lighting night scenes or bluescreen sets, are covered in
detail, with studio lighting covered in a dedicated separate chapter. The
book is also peppered with anecdotes and trivia about lighting techniques
and the lighting trade.
It is the ideal text for both beginners studying lighting and
cinematography, as well as more advanced practitioners.

John Jackman is an author and filmmaker who has been involved in

dramatic and video production since the mid-1970s. He has produced
several feature films and documentaries and has contributed to numerous
industry magazines.
Lighting for Digital
Video and Television
Fourth Edition

John Jackman
Fourth edition published 2020
by Routledge
52 Vanderbilt Avenue, New York, NY 10017
and by Routledge
2 Park Square, Milton Park, Abingdon, Oxon, OX14 4RN
Routledge is an imprint of the Taylor & Francis Group, an informa business
© 2020 Taylor & Francis
The right of John Jackman to be identifed as author of this work has
been asserted by him in accordance with sections 77 and 78 of the
Copyright, Designs and Patents Act 1988.
All rights reserved. No part of this book may be reprinted or reproduced
or utilized in any form or by any electronic, mechanical, or other
means, now known or hereafter invented, including photocopying and
recording, or in any information storage or retrieval system, without
permission in writing from the publishers.
Trademark notice: Product or corporate names may be trademarks
or registered trademarks, and are used only for identifcation and
explanation without intent to infringe.
First edition published 2004
Third edition published by Focal Press 2010
Library of Congress Cataloging-in-Publication Data
Names: Jackman, John, 1957- author.
Title: Lighting for digital video and television / John Jackman.
Description: Fourth edition. | London ; New York : Routledge, 2020. |
Includes index.
Identifers: LCCN 2019046131 (print) | LCCN 2019046132 (ebook) |
ISBN 9781138937963 (hardback) | ISBN 9781138937956 (paperback) |
ISBN 9781315676005 (ebook)
Subjects: LCSH: Video recording—Lighting. | Digital video—Lighting. |
Television—Lighting.
Classifcation: LCC TR891 .J33 2020 (print) | LCC TR891 (ebook) |
DDC 777/.38—dc23
LC record available at https://lccn.loc.gov/2019046131
LC ebook record available at https://lccn.loc.gov/2019046132
ISBN: 978-1-138-93796-3 (hbk)
ISBN: 978-1-138-93795-6 (pbk)
ISBN: 978-1-315-67600-5 (ebk)
Typeset in ITC Stone Serif
by Apex CoVantage, LLC
Contents

Acknowledgements viii
Introduction ix

Chapter 1 Why Is Lighting Important for Television and Video? 1

Exposure and Contrast 3
Beyond Basic Exposure 6

Chapter 2 Human Vision, the Camera, and Exposure 12

What You See 12
What the Audience Sees 14
Fitting in the Window 19
So What Happens If We Don’t? 20
Inside the Legal Video Signal 21
Proper Exposure 30
Controlling Contrast 35
Controlling Color 41
The Kelvin Scale 41

Chapter 3 Volts, Amps, and Watts 45

Standard Connectors 52
Power Tie-Ins and Contractor Connections 57
Electrical Safety 57

Chapter 4 Lighting Instruments 60

Open-Faced Instruments 60
Lensed Instruments 64
Fluorescent Instruments 68
HMI Instruments 73
Ceramic Discharge Metal Halide 75
Plasma 76
vi Contents

Soft Lights 76
Specialty Instruments 80
LED Instruments 83
LED = Battery Power! 84
Cookies and Snack Boxes Aren’t for Lunch 86

Chapter 5 Lighting Controls and Uses 87

Gels 87
Diffusion 93

Chapter 6 Basic Lighting Techniques 102

A Sense of Depth 102
Basic Lighting Setups 107
Lighting Jiu-Jitsu, or the Art of the Reflector 113
Using a Kicker for Modeling 114
Using Soft Lights 115
Hard or Soft? 117

Chapter 7 Interview Setups 120

Basic Three-Point Interview Setup 120
Hard or Soft? 125
Simplifying the Soft Look 128
But Wait, There’s More! 131

Chapter 8 Solving Common Problems 132

Hot Spots: Film Folks, Be Vigilant! 132
Eyeglasses 134
Practicals and Light Sources in Frame 138
Lighting Dark Complexions 140
Too Much Light in All the Wrong Places! 144
Different Color Temperatures in the Scene 146

Chapter 9 Studio Lighting 150

Power System and Grid 153
Fluorescent Instruments 159
LED Lighting 160
Designing a Lighting Plan With Flos or LEDs 161
Flat Lighting 162

Chapter 10 Advanced Lighting Setups 170

Establishing Mood 178
Lighting Darkness: Interiors 179
Lighting Darkness: Exteriors 183
 Contents vii

Daytime Exterior Contrast Management 191

Light Surgery 194

Chapter 11 Lighting Low-Budget Locations 197

Make Location Lemonade 198
Low-Budget Lighting Principles 199
Low-Budget Lighting Process 200
Using Light and Improvised Cheap Lighting 209

Chapter 12 Specialized Lighting 211

Product Shots 211
Food Shots 215
Lightning and Fire 218
Automobile Interiors 222
Blue- and Greenscreen 225
Church and Wedding Lighting 233
Live Theatre Taping 238

Chapter 13 Imagination and Invention 240

appendix 1 Using a Light Meter for Video 247

Light Meter Basics 248

appendix 2 Basic Primer in Signal Monitoring 250

Waveform Monitor 251
Vectorscope 252

appendix 3 Addresses of Manufacturers 254

Glossary 257
Index 277
Acknowledgements

Dedicated to my amazing wife Debbie, who has had to listen to me criti-

cize the lighting of movies and television for donkey’s years, and without
whose help and support my production work – and this book – would not
have been possible. And to my kids, Andrew and Abby – and “extra daugh-
ter” Laurel Clabaugh – who have put up with being involuntary subjects
more often than they wanted. Special thanks also to my technical editor,
DP Arledge Armenaki, who helped make sure that even the most technical
stuff was both correct and understandable. Similar thanks to DP Richard
Clabaugh, a friend who is always interested in talking “shop,” and who
always has a good idea to make the show better! Special thanks also to Nic
Morris, BSC, who helped us make sure that we included European and Brit-
ish terminology instead of only American slang. And a special tip of the hat
to the late Bob Collins, SOC, who was going to be our original technical
editor. You are much missed, Bob!
Introduction

Over the years, I have participated in or moderated a number of Internet

forums related to video production, and often field questions about light-
ing issues. After a thread where several of us explained to a beginner why
he needed to light his videos, one wag posted:

“Remember, without lighting all you have is a black picture.”

Facetious, tongue-in-cheek, but true! The most common mistake beginning

video shooters do is to overlook the importance of good lighting.
I’ve always been interested in lighting. In my earlier days it was theatri-
cal lighting; I just loved playing with the light boards (built one myself) and
figuring out dramatic lighting effects. Then I became interested in video
production. That was back in the days of the Sony PortaPak®, the genesis
of “guerilla video,” however, and we didn’t do no stinkin’ lighting. Point-
and-shoot was pretty much all we did outside of the studio. The PortaPaks®
ran ½" reel-to-reel tape, black and white only, about 150 lines of resolution
on a good day. The tape deck was about the size of a mini-tower computer
today, with a shoulder strap and batteries that seemed to last about ten
minutes. Then along came ¾" U-Matic® and then ¾" SP. And then came the
day when a great program I had done was rejected for network broadcast
because of poor lighting in some critical interview scenes.
I got back “into” lighting with a vengeance. My earlier fascination with
theatrical lighting effects was reawakened, and I started to experiment. When
the first 3D programs came out (anyone remember DKBTrace, the original
Caligari, and Turbo Silver?), everyone else was playing with reflective surfaces –
but I was playing with the lights! I’ve been playing with lights ever since.
Once you discover the difference great lighting can make, you’ll be
playing along with me!
John Jackman
Lewisville, NC
Summer, 2019
CHAPTER 1

Why Is Lighting Important

for Television and Video?

If you’re fairly new to television, video, and digital movie production,

you may not really have a sense of why lighting is so important. After all,
today’s cameras are so light sensitive you can often get away without any
additional lighting. The only thing you don’t understand is why sometimes
your shots are overexposed or contrasty; and you may not be able to figure
out why one shot will look like a Hollywood film and the next will look like
a really bad YouTube video.
If, on the other hand, you’re more experienced in television and event
video production, you may understand a lot about the basic issues of con-
trolling contrast and exposure – but would find it challenging to light a
realistic night scene or simulate natural lighting in a living room for a dra-
matic movie. These situations are very different from flat studio lighting
and a classic three-point interview setup.
Whether you’re a rank beginner with a video camera or a moderately
experienced video user who wants to get into the more advanced world
of dramatic moviemaking, I hope this book will prove to be a helpful
guide to understanding lighting and how it contributes to effective image
making.
The real key to fine lighting is not only to simulate reality, but to
communicate the proper mood and feeling to the viewer. You need
to know more than just basic techniques or tricks, it’s best to have an
understanding of how certain looks will communicate to your viewers.
You need to develop an artist’s eye for light and shadow and color, and
the techniques for reproducing them. Ultimately, great lighting is an
ongoing learning experience that can graduate from craft and technique
to the realm of art.
In this book, we’re going to travel through the world of television,
video, and digital movie lighting in a fairly methodical way, so that you
build an understanding of the “why” behind the “how to.” If you’ll come
along for the journey (rather than cheating and just flipping through to
2 Why Is LIghtIng Important for tV and VIdeo?

find a setup diagram or two), by the time we’re finished

Like a magician, we’re trying to you’ll understand the principles behind the techniques.
convince the viewer of something At that point, you’ll be able to improvise, to create new
that isn’t quite true. techniques for unique situations, rather than having to
fall back on some textbook diagrams; and it means you’ll
be able to do a better job at any lighting scenario.
Why is lighting so important to great video? There are a number of dif-
ferent reasons, some of which have to do with the camera itself and the way
the imaging system translates light into an electrical signal, and some of
which have to do with the fundamentals of human perception. But just as
important is the fact that we’re creating an illusion. Like a magician, we’re
trying to convince the viewer of something that isn’t quite true. We’re try-
ing to make it seem as if colored plasma flickering across a flat glass screen
are actually lions and tigers and bears and people, the great outdoors, the
grandeur of space, and the depths of the sea. We’re trying to create the illu-
sion of depth and size in a tiny flat plane. And, even more difficult, we’re
not really trying to capture what the eye sees. We’re trying to capture the
mind’s interpretation of what the eye sees, which can be a wholly different
thing. But more on that later!

Figure 1.1 Owen

Stephens, Society
of Operating
Cameramen
(SOC), lights an
intimate lunch in
Naples, Florida,
with his Pampa
portable fluorescent
instruments.
 Why Is LIghtIng Important for tV and VIdeo? 3

Good lighting is important for quality video in three different ways:

• First, you have to have proper exposure, enough light to generate a

signal from the imaging device and raise the signal to a proper level,
but not exceed the limits.

• Second, you have to create the illusion of depth through use of

highlights and shadows so that they viewer forgets they are watch-
ing a 50" × 29" rectangle of glass with LED illumination behind it.

• Third, you have to use tricks and illusions to create mood and feel-
ing with the lighting, just as the music director will create mood and
feeling with the music.

exposure and Contrast

The most obvious way in which lighting is important for video is in basic
exposure. Like the wag said, “without lighting all you have is a black pic-
ture!” You have to have enough light on your subject to excite the electrons
in the camera’s imaging chips to a certain level. It doesn’t matter that you
can see it – if the camera can’t see it, your video is toast. You’d think this
would be obvious, but it’s amazing how many people will try to create a
night scene by just shooting in the dark.

Figure 1.2 The Sony VX-1000

revolutionized digital moviemaking,
but had very poor low-light
characteristics.
4 Why Is LIghtIng Important for tV and VIdeo?

This is probably one of the most common “postmortems” that I do,

when folks bring me their video and ask what went wrong. One producer
of an independent short brought me some raw camera footage to review of
a scene they had shot out in a field at night with a Sony VX-1000 (the first
popular DV camcorder – and one that was notorious for its poor low-light
performance). They had (almost) all the right equipment, but really had
no idea how to use it, and the result was dreadful. They’d shot in a field
with no easily available power, so they brought a small generator and sev-
eral lights. Unfortunately, they didn’t bring enough “stingers” (extension
cords), so when they got the generator far away enough to not interfere
with the audio, they couldn’t get the lights very close to the subjects. Then,
rather than concentrating the light all on one side (which might have just
barely worked), they distributed them around to create a flood of weak,
flat lighting. Then they turned on the AUTO EXPOSURE control on the
VX-1000 – a true beginner’s mistake. Since the VX-1000 was very poor at
low-light situations to begin with, the AUTO circuits kicked in full gain to
try and make the scene look like a fully lit room, rather than a dark night
scene. With the gain all the way up to +18 db, the result was a flat, grainy
picture that looked like surveillance video. The one thing it didn’t look like
was a night scene. “What can we do?” wailed the producer, who had now
wasted a whole day on this scene.

Figure 1.3 Lighting

diagram for the
VX1000 night
shoot.
 Why Is LIghtIng Important for tV and VIdeo? 5

I drew a diagram, using the same lights they had used but lots more sting-
ers to bring the lights closer to the subjects. I put most of the lights in a group
on one side with quarter-blue gels. I used one ungelled light as a kicker from
the rear on the other side, leaving the camera side unlit. Then I showed their
young shooter how to expose manually. The results were pretty good, giving a
feeling of a moonlit night. I think they even gave me a credit in the roll!
But just as you must have enough light, too much light or too much con-
trast can be a problem as well. If a backlight is too intense compared to the
key, the highlights will be “hot” – over the electronic definition for full
white – and may “clip” so there is no detail in that area of picture. If the
camera operator stops down to expose for the backlight, then the rest of
the subject will be underexposed and the picture will seem too contrasty.
Overexposing causes worse problems than underexposure, because
sometimes the result can’t be repaired. There’s a local station where I live
(whose call letters shall remain anonymous) where nearly all the location
news footage is grossly overexposed. I don’t mean a little bit, I mean grossly.
Large portions of the picture are clipped white, the dark areas are medium
gray. When they interview a person of color, it’s not uncommon for the per-
son to look almost Caucasian. When they interview a Caucasian, the face is
a white blob with little detail. The studio (though I don’t like the lighting

Figure 1.4 Sam Waterston, Steven Hill, and Angie Harmon in the original Law and
Order series, which ran from 1990 to 2010. This show set new standards for filmic-style
lighting in a television series. Photo courtesy of Jessica Burstein.
6 Why Is LIghtIng Important for tV and VIdeo?

esthetically) is at least properly exposed, accentuating the difference in the

location footage.
But once you have a basic level of exposure, what do you do with it?
It’s fairly easy to blast several thousand watts on a scene so that it gets the
electrons in the camera hopping, and then stop down until the viewfind-
er’s zebra indicator goes away and you’re not overexposed. But it’s much
harder to find the nuances that will really convince the viewer’s eye and
mind of texture, of feeling, of mood. This is where the acceptable gets sep-
arated from the great.

Beyond BasiC exposure

Great lighting begins with the creation of an illusion of depth. Keep in
mind that no matter how much television is a part of our lives, the TV screen
is still just a flat piece of glass with flickering colored lights. Though it has
height and width, a television screen is fundamentally two-dimensional: it
has no depth. No amount of great acting or wonderful music will create that
illusion of the third dimension; it’s entirely up to the lighting designer to
create the feeling of depth. This is done through careful crafting of high-
lights and shadows, the visual cues that the brain uses to interpret depth. In
fine art, the use of light and shadow to create a sense of depth is known as

Figure 1.5 This chiaroscuro

woodcut of The Virgin and Child
by Bartolomeo Coriolano, created
between 1630 and 1655, uses
light and dark lines to create the
impression of dimension.
 Why Is LIghtIng Important for tV and VIdeo? 7

chiaroscuro. Together with the refinement of perspective, it is an essential

element of great Renaissance art.
Most local news studios, talk shows, and soap opera sets are flat lit with
loads of light and almost complete elimination of shadows. This is done for
convenience and economy. The result is a very flat, two-dimensional feel-
ing. The eye doesn’t find the cues that help the brain interpret depth, so it’s
hard to figure out how deep the set is and how far the anchors (or actors)
are from one another. We’re used to the look from seeing the evening news
regularly, so it doesn’t bother us, but boy does it telegraph “LOCAL NEWS”
to the viewer. Use that lighting scheme for a drama, and it just won’t work.
Contrast this to the realistic lighting used in many TV dramas of the last
three decades, which have moved further into filmic lighting that captures
a sense of reality. Though earlier shows such as Hill Street Blues (1981–1987)
broke new ground in camera work, the lighting was not much different
from earlier television series. Dick Wolf’s Law and Order (1990–2010) or
Aaron Sorkin’s West Wing (1999–2006) moved to much more filmic light-
ing. These shows make very heavy use of light and shadow, often lighting
closeup subjects heavily from one side with a large, diffused lighting source,
and leaving the other side in near darkness. The standards for television
drama lighting have increased dramatically in recent years. Shows such as
Breaking Bad (2008–2013) often use very dark interior scenes with extremely

Figure 1.6 This scene from Breaking Bad (2008–2013) shows the very dark interior
lighting used on the show, which conveys the series’ stark and dark feeling. Here fog is
used in the scene to make light rays visible and give them substance. Michael Slovis was
the cinematographer.
8 Why Is LIghtIng Important for tV and VIdeo?

limited key light, a style which would never have been used in earlier televi-
sion series – and perhaps not even in most theatrical films. Despite intense
production schedules, the production teams on these shows work hard on
their lighting to convey the feeling of depth and dimension. Light patterns
on walls, mixed color temperatures, shadows, the use of fog on set to give
shape to light, all create a feeling of the depth of the scene – but also clearly
cue the viewer as to an off-screen light source that is appropriate to the set.
While some of these shows write new rules for lighting, most films and
dramatic programs borrow heavily from what I call Hollywood visual ver-
nacular, the peculiar set of visual cheats and shortcuts that have developed
over the last hundred years of filmmaking. Vernacular, of course just refers to
“common language.” These tricks are part and parcel of the common visual
language of movies. Many of these aren’t very realistic at all, but are a type
of visual shorthand that we have been indoctrinated to by years of watching
Hollywood films. It’s important to have a sense of these cheats and what
they are associated with in the minds of viewers. Why? Because they work.
They are much like the tried-and-true cheats of the theatre, techniques that
work, that the audiences are used to and accept without question.
In the live theatre, there’s an expression that’s quite important: “sus-
pension of disbelief.” The phrase, which originates with Coleridge(he was
talking about poetry), has come to mean the state where the audience is
fully engaged in the illusion of the drama.* In practice, it is a balance where
the actors, director, and crew use techniques and conventions to create a
certain semblance of reality – and then the audience meets them halfway
by “suspending disbelief” in the patent fakery. It’s a delicate balance, easily
broken; the audience will only go so far. If an actor drops out of character,
or does something utterly incongruent, the spell will be broken. The audi-
ence’s attention will be focused on the fact that this is an actor pretending to
be Romeo, not Romeo himself. If the tech crew makes a gross mistake (the
phone rings long after it has been answered or the gunshot sounds before
the policeman has gotten the pistol out of his holster) so too the spell will
be broken. The audience will go so far, but no farther.
But those tried-and-true “cheats” that I mentioned above are, in a way,
a part of the unconscious contract between audience and play actors. They
are a set of conventions everyone accepts more or less willingly, cheats
that the audience will accept, obvious artifices that still will not break the
all-important suspension of disbelief. That’s what the Hollywood visual
vernacular is about – artificial devices that work without interrupting or
unduly jostling the audience’s suspension of disbelief.

* Samuel Taylor Coleridge, Biographia Literaria (1817), Chapter 14.

 Why Is LIghtIng Important for tV and VIdeo? 9

A great example of “stock” Hollywood vernacular lighting occurs in one

of Elvis’s films, G.I. Blues (1960). It’s a scene where he sings a lullaby to Marla’s
baby. This room was lit pretty much in Hollywood formula fashion, effective,
but certainly not breaking any new ground in lighting design. The bed and
Elvis are intensely lit with thousands of watts of studio lights, while the rest
of the bedroom is broken into a pattern with several blue-gelled lights with
cookies. I think I even recognize the pattern of the standard Mole-Richardson
cookie! This broken pattern of blue light on the walls is Hollywood code for
“this is nighttime.” The light level in the room is actually quite excessive for
what the scene portrays, and it really doesn’t actually look like any dimly lit
real bedroom I’ve ever seen. But, with the exception of DPs, lighting designers,
and gaffers, no one notices! Most viewers accept the scene without question,
their “suspension of disbelief” fully engaged.
As unrealistic as some of these tricks are, they are effective. The viewer
will watch the scene and accept the effect and the mood without question.
While it may be exciting to rewrite the rule book and create new techniques
that speak to the viewer, let’s face it: it’s not always going to work. Some-
times it will; other times, it will flop or call such self-conscious attention to
itself that it disrupts the viewer’s involvement in the story. But, even more
to the point, most of the time you don’t have the luxuries of either time or

Figure 1.7 Filmmaker Elyse Couvillion and DP Allen Daviau ASC used light to help
convey storyline to the viewer in the independent short Sweet. Photo courtesy of Bruce
Coughran.
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