The use of time and color in stage lighting design is an important means in drama art, and its skills and rules must be mastered when using light and color. Addition of light and color and subtraction of color When painting, as long as you master the rules of toning, you can use several colors to create ever-changing colors. The deployment of seasonings is based on the law of "subtraction of color and color" commonly used in color science.
Knowing this rule, the required various light colors can be called out by using the color filter superposition method. Stage lights superimpose different types of color filters together, and various light colors can be obtained through light. The stage lighting also uses the law of "subtraction of color and color" of painting toning.
But it is worth pointing out that the stage lighting should not only use this method, but also must use the "light color addition" method to obtain different light colors. That is, the regularity that the three primary colors of light, red, green, and blue, are added to white. If we confuse the law of "addition of light and color" with the law of "subtraction of color and color", it will be difficult to find a reasonable scientific law from the use of light and color.
In fact, these two laws are also used in color TV and color color film photography. The mixture of red light and green light produces yellow light, but the yellow in the color cannot be matched from red and green, and the mixture of yellow and blue light can produce white light. That is, the primary color red plus the primary colors blue and green produces the intermediate color yellow.
These are actually complementary colors, also known as complementary colors. That is to say, if the addition of two kinds of colored light can produce white intersection, the two kinds of colored light are said to be complementary colors to each other, which is also the law of adding white light. The light color obtained by superimposing the color filters of stage lights by "subtraction of color" and the "addition of light color" in which two lights of different light colors are mixed together on the stage are two different color adjustment methods, which must be clarified. Two different laws, and then get familiar with him in the stage lighting design practice, in order to get the desired artistic effect.
Discussion on the application of illuminants and color filters in stage lighting When studying the techniques of using light and color in stage lighting, one must be familiar with the tools used --- stage illuminants and color filters. Just as an artist must be familiar with the performance of paint, brush and canvas for painting, more tungsten lamps are used on the stage. Due to the temperature that the tungsten wire can bear in the normal life state, it can only emit 2800K light color, which is yellowish, suitable for warm-toned color filters. When expressing warm-toned scenes, such as blue night scenes It is more difficult.
There is a lack of blue components in the light source, so about 70% of the light is lost after passing through the color filter, which reduces the illuminance of the light, and its color purity is also poor. Since the invention of the halogen tungsten lamp, the color temperature of the light color has reached 3200K , which is almost the limit, and its light color is still warm. If the temperature of the tungsten wire is further increased, the life of the tungsten wire will be greatly reduced, and there will be no use value. Stage play is an art watched with the naked eye, but the optic nerve is different from color film or TV. The color-sensing cells of the human eye are weak, and the color difference is poor in dark light. Such as the dim light of the human eye on a moonlit night is almost color blind.
The sensitivity of color distinction is much lower than that of film and television. It is very difficult to solve the important problem of stage lighting without the development of gas discharge lamps or metal halide lamps to improve the brightness and purity of cold color lights. At present, the dimming (controlling the change of light and shade) of the lamps and lanterns using the above-mentioned light system is not ideal, which limits its use on the stage. Color (the color temperature decreases by 10K for every 1V decrease in voltage) especially affects the dimming of cool-toned luminous lights. For many years, there have been studies on the use of dimmable fluorescent lamps to solve this perplexing problem.
In recent years, three-color fluorescent lamps with frequency conversion and dimming optical fiber lines have been used in film and television. Most of the color filters used in stage lighting are dyed with polyester resin (also known as polyester film). It's easy to use, but it's hard to make it completely colorless.
There are more than a hundred kinds of color filters produced by famous manufacturers, which are often called micro-series color filters. The difference between each color filter is very small, because TV is very sensitive to light color, so it is very necessary, and the naked eye can't distinguish it. The difference and color difference between the two large color filters in TV is almost unacceptable in film and television. But for stage lighting, the requirements don't need to be so high. The Lighting Professional Committee of the China Academy of Stage Arts once organized lighting experts from Beijing and Shanghai to select color filters, and selected more than 20 commonly used color filters from time to time.
Most lighting experts advocate the law of adding light and color and subtracting color to obtain the required rich light color changes. Because it is difficult for polyester resin color filters to not fade, some foreign theaters that perform repertoire still retain the habit of using colored glass color filters. Colored glass is made by adding certain metals or their oxides to molten glass to produce different colors, and the colors will not fade.
This ensures that the quality of those repertory performances will not change.