BRUTE [Film Technology]

BRUTE 

[Film Technology]

A tight arc light. The heavy weight end of film lighting usually found in feature studios or on location where the greatest available amount of light is require to compete or simulate the sun. Requires DC power supply and continuous replenishment of carbon rods may be fitted with fresnel lens to assist focusing light. See carbon arc. Needed to cope with large acting areas. They are also valuable to balance natural sunlight intensities in the open air, or for night shooting, where other sources are inadequate.

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BROAD SIDE [Film Technology]

BROAD SIDE 

[Film Technology] 

(SMALL BROAD). Has a short trough reflector with a linear filament quartz light (tubular quartz light) of (600-1000W)1/2-1kW. Both open lamp and shield light versions are used. The housing often has a two leaf or four leaf barn door shutter to restrict light spread, and can produce a fixed or variable width beam. This type of fitting is light weight and can be used suspended or on floor stands, so it has proved very adaptable on location and in the studio as a `soft light’ source to illuminate confined areas, backgrounds etc. A smaller version (nook light) can be used for very small areas; while a large broad using 2.5 kW lamps, or a double broad (two separately switched 1 kW lamps) are used for larger applications. 1/2-1kW-tubular quartz light. Flaps or barn doors restrict light. Fairly hard light source (lamp shield versions available). Known as broad.

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BROADCASTING STUDIO [Film Technology]

broadcasting studio 

[Film Technology] 

Acoustic design must take into consideration the fact that, in addition to physiological peculiarities of the ear, hearing is complicated by psychological peculiarities. For example, sounds that are unfamiliar seem unnatural. Sound produced in an ordinary room is somewhat modified by reverberations due to reflections from walls and furniture; for this reason, a broadcasting studio should have a normal degree of reverberation to ensure natural reproduction of sound. For the best acoustic qualities, rooms are designed to reflect sound sufficiently strongly to give a natural quality, without introducing excessive reverberation at any frequency, without echoing certain frequencies unnaturally, and without producing undesirable interference effects or distortion.

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BRIGHTNESS [Film Technology]

BRIGHTNESS 

[Film Technology] 

(Luminosity) Simply by varying the total amount of light, while maintaining the proportions of red, green and blue, the brightness of a colour may be changed without affecting the hue or saturation. About one hundred degrees of brightness can be distinguished by the human eyes although the range is considerably widened by the eye’s ability to increase or decrease its sensitivity in high or low light level. One of the three aspects of light. Brightness is the term still widely used to indicate the quality of light received from the subject. One’s subjective impression of the amount of light reflected from surfaces. Often very inaccurate due to psychological effects (adaptation illusion) e.g. pure colour (highly saturated) may be wrongly interpreted as bright. The term luminance is used for accurate measurements of reflected light (in the USA brightness is often used to denote luminance.). Adjustment which controls the average brightness of the displayed picture.

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BRIDGE [Film Technology]

BRIDGE 

[Film Technology] 

A tubular scaffolding fixture or suspended gangway used to providing an operating position for a following spot, or for rigging lighting equipment.

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BREAK THROUGH [Film Technology]

BREAK THROUGH 

[Film Technology] 

A spurious effect sometimes encountered when electronically inserting a subject into a background scene. An area of the background scene appears `with in’ the subject.

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BREAK DOWN SHEET [Film Technology]

BREAK DOWN SHEET

[Film Technology] 

Other names-running order sheet, run down sheet, show format sheet. This gives a list of various events or programme segments in order. It shows camera and audio pick-up arrangements for each, the setting used, talent name etc..

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BREAK AWAY GLASS [Film Technology]

BREAK AWAY GLASS

[Film Technology] 

Bottles and glass sheets which shatter on impact without risk of personal injury are made of a special plastic resin which crumbles rather than splinters when broken, but is not ideal especially for medium shot and close shots as it does not break and splinter in a similar manner to glass.

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BREAK AWAY FURNITURE [Film Technology]

BREAK AWAY FURNITURE 

[Film Technology] 

Where possible , props required break in fight sequences should be made to balsa wood and weakened where the breaks are intended. Real furniture may be completely cut through as it is intended to come apart and lightly held together with very small dabs of glue or tooth pick `dowels’, taking care to camouflage the join before impact.

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BREAKS [Film Technology]

BREAKS

[Film Technology] 

A method of  disguising edge joins of a set. In which a flat is displaced, being stood in front of as behind its neighbors. This technique can usually only be applied in architectural staging when the discontinuities are unseen by he camera.

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BRAIL LINE [Film Technology]

BRAIL LINE 

[Film Technology] 

(Scenic cord). A scenery stabilizing device. Stability requirements ranges from simply ensuring that the construction will not fall over, to permitting people to lean or walk on them. For fine positions or steadying we can brail an item over from its dead position (where it hangs naturally) by a brail line(scenic cord).

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BRACING STRUTS [Film Technology]

BRACING STRUTS

[Film Technology] 

A scenery stabilizing device. Stability requirements range from simply ensuring that the construction will not fall over, to permitting people to lean or walk on them. These are length of timber (e.g. 3 in X 1 in section) nailed to the tops of flats across the corner angles of walls, or between facing units. Bracing is applied after erection where other methods of support are insufficient or impracticable. They should be introduced only in collaboration with lighting design, for such struts can cause distracting shadow.

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BOX UNITS [Film Technology]

BOX UNITS 

[Film Technology] 

They are made from hard board (prepared board) or plywood facings, which fasten on to a cubic frame. Faces can be clipped screwed on to this foundation and changed or redecorated to suit the requirements of individual shows. The box unit can be used singly, or arranged to build up into tables or benches for displays or demonstrations. A selection of sizes and shapes adds to their versatility. Square, rectangular, and drum forms have the widest application.

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BOUNCE LIGHT [Film Technology]

BOUNCE LIGHT

[Film Technology] 

Light obtained by random reflection from a strongly-lit source. Bounce light from ceilings using localized spotlights is regularly use in location interiors to provide soft light.

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BOUNCE CARD [Film Technology]

BOUNCE CARD 

[Film Technology] 

Producing bounce light. For very close shots in strongly lit situations, even a small hand held- `bounce card’ provides useful fill lights.

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BOTTOM WEIGHING [Film Technology]

BOTTOM WEIGHING

[Film Technology]  

Scenery stabilizing device. Stability requirements range from simply ensuring that the construction will not fall over, to permitting people to lean or walk on them. For a small isolated unit (e.g. pillars, trees) stage weights or sand bags can be used to weight  in at the base.

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BOOSTER LIGHT [Film Technology]

BOOSTER LIGHT 

[Film Technology] 

Unless daylight is waning, any supplementary lighting we use in the open air is likely to prove disappointingly ineffectual for large area continuous lighting.  Even large arcs such as 225 amp `brutes’ are swallowed up as day time booster lights for shadow areas in brightly sun lit scenes, although their uncorrected colour temperature often conveniently matches daylight. For closer shots, tungsten halogen lamps may serve as booster key lights or shadow fillers.

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BOOM OPERATOR [Film Technology]

BOOM OPERATOR 

[Film Technology] 

To reduce still further unwanted signals from the sides and rear, a directional microphone is hung from an extendible boom which can be moved to follow subject. This type of microphones is rarely static and requires skillful control by a boom operator who might be anything up to six meters away. While following each performers moves, the microphone must be kept out of shot and prevented from casting an unwanted shadow. Another name boom man.

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BOOM [Film Technology]

BOOM 

[Film Technology] 

To reduce still further unwanted signals from the sides and rear, a directional microphone is hung from an extendible boom which can be moved to follow subject. This type of microphone is rarely static requires skillful  control by a boom operator who might be any thing up to six meters away. While following each performers moves, the microphone must be kept out of shot and  prevented from casting an unwanted shadow.

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BODY BRACE [Film Technology]

BODY BRACE

[Film Technology] 

A strut or frame work pressing against the chest, or into a belt, to help steady a shoulder supported camera or hand supported camera. Using to increase the stability of hand held cameras. Although many light weight cameras are shoulder supported, this can be a tiring position to maintain for any length of time. Even with the aid of a body brace it is not possible to hold a camera absolutely still, shot after shot for long working periods. Especially when you have use a narrow angle lens [long focus lens] to get a close enough shot of the subject, your own natural movements [heart beat, breathing, tired muscle] make a certain amount of unsteadiness avoidable.

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