PART 4 Lighting, Backgrounds, and Sets REFLECTORS IN USE (a) A B (b) (c) C FIGURE 12.31 Reflectors can be used in many situations, using different techniques: A: The sun provides the keylight and the reflector is the fill light. B: A reflector is being used to reflect additional light into a building through its window. C: Two reflectors are being used to increase the illumination. One of the reflectors is silver (the keylight) and the other is white (the fill light). How effective a reflector is depends on its surface and on its angle to the sun or other light sources. If a reflector is used beside the camera, and reflects a source directly ahead of the camera, the intensity and coverage of the reflected light is at a maximum. As the reflector is angled to the source, its output and its coverage fall. (Photos by Josh Taber (A) and Nathan Waggoner (B)) LIGHT SUPPORTS Grip Clamps 202 There are a number of different clamps or grips available on the market in order to hold lights on location or in the studio. All of them include "mount- ing spuds" where lights can be attached. These clamps clip a light to any firmly based object, such as a door, table, chair, rail, post, window, or ladder. In the studio, they can also be clamped to a light stand and set flat. These clamps can be a very useful compact device to secure lamps in out-of-the-way places, especially when space is restricted (Figure 12.32). Light Stands Light stands come in all different sizes and shapes and are generally telescopic three-legged stands. They can be collapsed, folded, and/or dismantled into sections for transport. The size of the light will determine how sturdy the light stand needs to be. If the stand is too flimsy, it will be top-heavy and eas- ily upset, even by the weight of the light's cable. With more robust types of stands, two or more lights can be attached to a stand when necessary. FIGURE 12.32 "Furniture clamps" and "gator" clamps are used to attach a light to any- thing around the shooting location. (Photos courtesy of Mole-Richardson) Light stands have the disadvantages of occupying valuable floor space (perhaps impeding cam- era or sound-boom movement), casting shadows onto backgrounds, having trailing cables, and being vulnerable. But they do permit easily adjusted precision lighting (Figure 12.33). In fact, most television lighting is suspended, in order to leave floor space uncluttered by lamps or cables. Studio Ceiling Supports Smaller studios and temporary sets in larger studios frequently use pipes to hang the lights on in the studio. These pipes enable lamps to be clamped or suspended as required (Figure 12.34). Large studios frequently use "battens," "bars," or "barrels" arranged in a parallel pattern over the studio area, and individual battens may be counterbalanced by wall weights or motor