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2025-07-10 22:13本頁(yè)面
【正文】 h, we need to apply some criteria to each element to create a plete starting point for producing the lighting design package. There are a host of criteria provided in the IESNA Design Guide, but the most important ones have to do with the key, fill, and background light levels.In general, the key light need not be above 500 lux, but should be a minimum 300 lux for most cameras to operate within their optimum range, given typical videoconferencing applications. Because the key light needs to be directed at an angle to the participants, it39。s positions needs to be a lighter, neutral color to reflect light onto faces that are on camera.The third basic criterion is that the side and back walls that may be in view of the camera need to be lit so that the luminance of the wall surfaces on camera is in line with the luminance of the faces in the foreground. The wall luminance is created by the bination of the light level striking the wall and the color and light reflectance value of the wall finish.While background lighting can be relatively simple to acplish on the back and side walls of a videoconference room, the background lighting is trickier when there39。t forget to consider the display Along with all of the other parameters, it39。s a plethora of other design information and criteria as well as some lighting fundamentals included in the 25 pages that make up the new IESNA Design Guide. Besides the issues noted in this article, lighting control, missioning, cameras, and codecs are discussed to create a prehensive guide beyond what we have had available in the pro AV industry to date. In addition, an IESNA emended Practice will be developed that provides even more depth and background based on the information in the design guide that should be pleted in the next couple of years.While the design guide isn39。t until they used the technology for a while that users began to appreciate the difference between a “good” and a “bad” picture, which frequently had to do with lighting.The video captures above show a cool white fluorescent overhead lighting scheme in the top photo pared to a warm white fluorescent directional lighting scheme in the bottom photo.Although facial features can be discerned in both cases, notice how much visual information is “missing” in the overhead lighting arrangement due to shadows.LIGHT DISTRIBUTION IN VIDEOCONFERENCE ROOMS Below is a short checklist of lighting design considerations for a videoconference system and space. Refer to the IESNA Design Guide for plete detailed criteria and background information. Lamps of consistent color temperature should be used throughout the room that are patible with the camera. The typical choice would be fluorescent lamps rated 3,000 K to 3,500 K. Select solid, muted color wall finishes that are in the middle range of light reflectance value. s a light, neutral color. Consider the type of display being used. Projected images require lower light levels at the screen than directview displays. Avoid indirect lighting schemes when projected displays are being used. s an instructor for the InfoComm International Audiovisual Design School and an active member of the consultant
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