Translights and the history
The concept is simple - Suspend an image behind a Set to convince the audience that what they are seeing is not taking place on a massive soundstage. Be it hand-painted canvas, or reinforced PVC produced by a huge computer-driven printer, the purpose is the
We create the illusion that we are somewhere else - another time, another place, another
The History of translights
Scenic Backdrops have been used in theatrical applications for hundreds of years, if William Shakespeare were to visit a present day motion picture studio he would be bewildered by most of the technologies now in use, however, he would understand.
For many years, this was the job of skilled scenic artists, and indeed they are still employed in large numbers in the industry. But the backdrop world is increasingly one of photography and computer image manipulation. One hundred years ago, all backdrops were hand painted.
Fifty years ago, large-scale photographic techniques gained acceptance. The early Scenic backdrops for film and TV were called Translights, this is a trade name. Many designers these days still refer to modern day scenic backdrop by this name and even Cyc’s. Today most backdrops are created from film, digital photography or computer generated artwork all of which can be manipulated on the computer and printed. And tomorrow? We’re still working on that, but rest assured, when it arrives, it’s going to be amazing!
Use
Why use backings, rather than simply shooting everything on location? The answer, as to so many questions in Hollywood, is control. Control over lighting conditions, the time of day, and the weather. The ability to do thirty takes of a scene against a perfect sunset, and still have the option of coming back after seeing the dailies for twenty more.
So instead of shooting everything on location, which requires permits, crowd and traffic control, and ability to squeeze huge grip trucks onto a residential street without annoying the neighbors, a compromise is reached. Shoot the exterior shots on location in the shortest possible time, but come back to the stage set for the interiors.
This is where the backing becomes critical - the backdrop brings the location onto the stage. Ideally, every production would use customer backings shot at the exterior location to provide perfect visual continuity between the exterior and interior shots. In practice however, sometimes rental backdrops of generic locations are often used to achieve the same general effect.
What you need to know to produce a Printed Scenic Backdrop Successfully!
To produce a custom backdrop. The first step is to take a photograph of the required location. This is simple enough, but it is probably the point in the process where the errors can occur. For this reason, all backdrop companies use the services of an experienced Scenic photographer who can offer advice during the shoot based upon their experience to achieve the best results.
The photographic process is usually referred to as” shooting a plate”, which takes us back to the days when all backings were shot in 8” x 10”format. The use of 6” X 4” positive colour film is probably more common. Using this method you can achieve a better depth of field, for instance detail in shady areas is a lot clearer.
Digital photography is becoming increasingly popular although using this method the file has to be re-interpolated to increase the resolution prior to printing. Rule of thumb is that the file size needs to be 10% of the finished size at a resolution of 300dpi Both offer significant improvements in ease of use compared to the bulky and slow 8” x10” cameras, but film versus digital debate still has a few more years to run.
When shooting the scene, always shoot more film of the scene than you really need, even if it means that you are shooting 360 degrees around and up to 90 degrees high. The needs of the production could change, and you must be prepared for that.
To ensure that enough image is captured, it is important to know the scale of the backing. There are two ways to calculate scale, one involving the ratio between distances on location and equivalent distances on set, and the other using the angles present at both places. It is usually a good idea to make both calculations as a form of self-checking. The placement of the horizon line within the image is so critical, and must take into account camera heights, platform heights, and any visual vanishing present in the image.
The time of day that the plate is shot is also significant. Again, the wise photographer will shoot a variety of lighting conditions in order to give the production the greatest number of choices possible. This may include shooting night plates both using the ambient light present at the location, and also using a lighting package often provided by the Cinematographer. Sometimes the perfect image for the backdrop will be the prettiest picture captured, but at other times it may be the most bland and nondescript, because that’s the image with the least number of visual cues that lock it into a single time of day. Often a romantic comedy will call for a bright sunny image, where a more moody piece would require a backing that is more grey and somber.
It is essential that when taking the photo for day and night scenes, the camera with its tripod be locked down in position until all photographs have been taken.
The use of low resolution digital files to create a quick, rough layout that can be inserted in a model of the stage set can be very useful for simulating the appearance of the finished backdrop prior to production.
Backdrop Types
There are three main types of backing available for purchase or rental which are differentiated by the way it is to be used for production.
Hand painted backdrops are produced on large pieces of canvas by scenic artists using a combination of brush and spray techniques. They are not intended to be a perfect reproduction of an image, but rather to look good on camera. Hand-paints tend to be extremely economical and effective for scenes such as skies or vegetation, but less so when large detailed architectural scenes, such as cityscapes when they are required. Hand painted drops are usually front lit, but are often back painted to allow for back lighting to create a night scene. Older hand painted rental drops have been known to become brittle and suffer from flaking paint!
Photographic backdrops, often referred to as “ translights” are printed by means of optical enlargers onto nine mil polyester coated with photographic emulsion. This produces an image, which is extremely crisp and photo-realistic. They feature a white backing / diffusion layer, are usually designed to be backlit, and can generally only show one lighting condition, either day or night. Photo backings tend to be delicate and thus difficult to handle. These are rarely used these days.
Digital backdrops combine features from both photographic and hand painted backings. They can be made in frontlit, backlit or the extremely popular day/night format, and are usually printed on polyester-reinforced vinyl. Digital backdrops can be produced in a variety of resolutions, the majority falling in the range of 30 to 300dpi. Care must be taken in selecting the right company to print digital day/night backings, as many less technically proficient manufacturers suffer from problems of front to back registration and back paint density. This is sometimes remedied by combining a computer-painted front image with hand-painted back image, but the resultant night images generally lack the subtlety of a true day/night.
Installation
Most backdrops are supplied fitted with grommets (eyelets) around the perimeter by which they can be attached to a frame, pipe, sailboats, or movable track.
Optimal placement is usually 4-5 metres (13 -16feet) outside of the wall, window, or door of the set. Front lighting is best provided from above at a high angle to prevent the possibility of creating a direct bounce path reflecting a hot spot into the camera. Backlighting is usually in the form of skypans placed directly behind the image at a distance of approximately 2.5 metres ( 8 ft). Digital backings tend to be more forgiving in the backlit condition than photo backings (Translights), being more diffusive and thus less prone to hotspots.
With lighting the front of the panel it is vitally important that you instruct your backdrop manufacturer to apply a matte coating to the panel, this helps to minimize any chance of lighting flares.
Adding Life to the Scene
While the purpose of the backing is, by definition, to remain in the background of the scene, there is always the danger that the static nature of the image can make it look unrealistic. To combat this, a variety of tricks and techniques can be employed by the Cinematographer or Art Director.
Small lamps, strategically placed, can greatly enhance a night scene. Tiny blinking LEDs can be attached to or through a backing to create the look of anti-collision lights on tall buildings or radio antennas. Gently pulsing lights behind a drop can also create the illusion of atmospheric distortion on a panorama of city lights.
Sunrises and sunsets can be projected upon a backing, as can a moon in various phases. Moving lights can also be projected on the front or rear of a backing to create the impression of waves on water, leaves gently blowing in the breeze, or even rain or snow in the sky.
Even after the scene is in the can, digital effects can be used to add life to the backing. Digital smoke plumes or birds flying past a window go a long way towards selling the illusion.
Jumbocolor Ltd
Jumbocolor has produced printed scenery for the past 17 years for the Film and Television industry. We are experts in producing Day /Night printed scenic backdrops These are unique and there is no other product to compare with it in the world. The realism that is attained is truly breathtaking. (See the Bourne Ultimatum for inspiration!) Also we produce singlesided scenic backdrops sometimes called "Translights"
In addition, please see our high resolution image library which have beeen specifically taken for uses as Scenic backdrops any of which can be manipulated, cropped, and then printed on demand. Image Library
The Jumbocolor team provide an unrivalled in-house depth of talent, not just in the field of digital backings.
If you would like further information or just advise please do get in touch with us.
Ph: 01840 213 580