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Regulation and application of stage lighting

From: 本站 Author: admin Posted: 2020-12-09 09:50:57 View: 343

The first is to control the strong current through weak current, adjust the output voltage, control the intensity of light. Because the brightness on the surface of the object is determined by the reflection ability of the surface and the intensity of the light. For the control of light intensity, assuming that the light and color factors are excluded, the control of relative brightness can make the scene on the stage have a sense of hierarchy, make the space extend to a certain extent, and also make the stage space tend to be flat; or make the object present its original appearance or lose its original appearance and regenerate other meanings. At the same time, it also brings strong "style" feeling to the stage space form. Such as high-profile, low-key and the overall feeling of the middle tone.

 


Secondly, shadow is another factor which has strong expressive force because of light. Light and shadow complement each other. The inner power of shadow is sometimes implicit and deep, sometimes confused and unable to grasp. On the stage of drama, strong contrast light or the main light with clear incident direction can create thick shadows. In the shadow of thick shadow, you can fall into deep thinking, as if there is a strong force to bring you into the drama situation. In contrast, the weak scattering light, shadow will become elegant, fuzzy, at this time the shadow is hazy and difficult to capture. Projections can be said to be special shadows. When the shadow appears in a local position of the object, the shape of the object will change due to the difference between the dark and bright shadow. That is to say, the shadow uses its own modeling power to "subtract" some parts of the shape of the object, resulting in interesting changes. When the shadow exists independently in the stage space, the shadow itself is an indisputable shape. In an open stage, the actors are outside the frame stage space (i.e. not in the audience's line of sight), and only the shadow cast by the characters is shown in the picture (no matter on the sky screen or in the film, there is a certain tilt and can be seen on the ground). This kind of picture with shadow as the main component factor often produces unexpected visual impact.

 


When it comes to the color of light, light color is produced by light with different wavelengths. The color of an object depends on the absorption and reflection of light on the material surface. The light and color operation on the stage follows the "addition" principle, which is different from the "subtraction" law of painting materials. All colors on the stage have to face the eyes of the audience. Therefore, the acceptance and understanding of colors vary from person to person. In addition, the difference of these factors will also lead to the difference of color selection in creation. Therefore, from these perspectives, color is plastic and blurred. It is an irrefutable fact that color can express things. The grasp and application of color is personalized. But the color itself has certain rules. Color has the characteristics of cold and warm, brightness, purity and so on. Each of them has a strong performance, and can form a complex contrast and harmonious relationship between them. But the existence of color always depends on a certain shape, even if it is an indescribable morning fog, which may be due to the fact that color is always represented by light and matter. Therefore, color and shape always complement each other, they can expand each other's meaning, can also distort and change each other's meaning. Showing the shape of strong colors gives us a surge of energy, which may be because light is involved in the display of colors.

 


On the stage of modern drama, the unity of light, color and shape is dialectical. According to the needs of today's special plot, light and color can be used to strengthen modeling, or the opposition between light and color and modeling, so as to set off the inner feelings of the characters. But generally speaking, the use of light and color must conform to the plot and director Zhu's overall structure, and at the same time, we should constantly improve our self-cultivation, so as to make a breakthrough in the understanding and application of color.