This is a media manipulation tactic.
You are being manipulated.
You are being manipulated.
Photographer Explains How ABC Manipulates Viewers through Intentional Selective Lighting
- Thread starter Phenomenally Frantastic
- Start date
Lol....the shit MAGA comes up with to take away from how shitty Trump is
Yes, it was the lighting that made him look bad.
😂
😂
I guess your boys advance team ****ed up. Details matter and his staff let him down.
Only the best as they say.
Only the best as they say.
So if Trump was in a dark room with zero light, I'd vote for him?
Just comical how everybody makes excuses for this silver spoon man baby.
It’s okay, you may stay in Wonderland.
“It's easier to fool people than to convince them that they have been fooled.”
Mark Twain
What interests me is that Dems & liberals must believe they cannot win without manipulating viewers and cheating.
Is it fear or desperation? Both?
I would prefer not to be manipulated in this way by partisan hacks.
Harris should be able to stand on her own merit without resorting to these tricks.
Unless…they think she can’t?
All these people were in on the conspiracy, I guess?
On September 10, 2024 — between 9:00pm and 10:45pm EST — an audience of over 67 million watched the first — and possibly only — US Presidential Debate between Vice President Kamala Harris and former President Donald Trump. The debate, held at the National Constitution Center (NCC) in Philadelphia, PA, was lit by Dennis Size, executive vice president of design at The Lighting Design Group, and moderated by David Muir and Linsey Davis, anchors of ABC NEWS. It was simulcast LIVE on 17 television Networks, and surpassed the previous June 27 Biden/Trump debate on CNN, which had a viewership of 51 million.
Since 1988 these final Presidential Debates, held every four years, were previously sponsored by the non-profit, nonpartisan, Commission on Presidential Debates (CPD), which is an independent organization, not controlled or funded by any political party/organization, and it does not endorse, support, or oppose political candidates. It was established under federal law to specifically ensure that Presidential and Vice-Presidential Debates reliably occur to reach the widest broadcast audience.
In May, the Biden/Harris Campaign informed the Commission that they refused to debate under the sponsorship of the CPD during the 2024 general election campaign, ‘sidelining’ and breaking a 35-year tradition. Instead, they proposed two debates with Donald Trump — one on CNN in June, and one on ABC in September. Although these two debates had VERY high ratings, it should be noted the CPD Presidential Debate between Trump and Hilary Clinton in 2016 had 84 million viewers," explains Size.
Click To Expand (and scroll to see multiple plots of the debate venue)
The NCC, a fabulous museum on the Independence Mall, was designed to celebrate the “greatest vision of human freedom in history, the U.S. Constitution.” The debate was held in the Sidney Kimmel Theatre, an intimate live audience-in-the-round multi-media performance space in the center of the NCC building. ABC tasked production designer Seth Easter to define the debate space and create the scenery. As part of the many requirements dictated by both political parties there would also be no audience.
Seth Easter created an atmosphere in which both the candidates and the moderators were wrapped in a ‘womb’ of several video screens (supplied by FUSE Technical Group)," says Size. "The gracefully stylish content Easter and his team created for the myriad of layered video walls throughout the space utilized the script of the U.S. Constitution in various ways and angles to serve as background, support the story of the Debate, and support the very site the debate was being held in. The designers also used various shades of blue to not only ensure candidates/moderators popped out from the background, but also to evoke the very serious tone of this event. The design was also a nod’ to the former CPD Debates, which always used simple blue backgrounds behind the candidates and accented the set with text of the Constitution. Easter’s graphic backgrounds were slightly defocused and darkened, which not only added more textural depth, but ensured the focus was always on the candidates."
Size supported the design concept in the lighting, using highlight and shadow – coupled with washes of rich blue toned light to support the overall artistic sensibility, while making sure the candidates did not blend into the background video screens.
"The candidate lecterns were kept 6’-0” apart (by request) and the moderators were 15’-0” from the candidates, resulting in a VERY intimate feel to the event. Using predominantly all moving lights (HES Lonestars and Halcyon Titanium fixtures) at relatively steep angles, I was able to selectively focus light precisely were needed. It was also important to keep unwanted/distracting shadows off the walls — which were only a few feet behind the candidates and moderators," Size points out. "The director, Lily Olszewski, utilized a dozen cameras to tell this story — and all but three were robotic."
The moving light package enabled Size to light the candidates and moderators from a variety of multiple angles — and have the versatility to make changes and “roll with the punches” as adjustments needed to be made. The existing house inventory of 20 ROBE Robins and 15 MAC Aura’s were augmented with the 75 HES moving lights (Sizes’ usual “weapon of choice”).
"The movers also solved the time constraints the lighting team faced with a very aggressive and compressed schedule," Size notes. "Nine trusses were rigged in the space on September 3 and 4. Lighting began on Wednesday, September 4, and camera blocking began on Saturday, September 7. Full rehearsal was Sunday, September 8. The HES LED movers, supplied by Main Light of NJ, allowed for adjustable color temperature – which was set at 4500 Kelvin and changed as needed – and the ability to soften/diffuse the beams of light to whatever worked best for the subject being lit. The programming was accomplished on a full size MA Lighting grandMA 3 by Max Rose."
On Monday, September 9, the Kimmel Theatre went “on the air” with the ABC NEWS broadcast of World News Tonightwith David Muir, followed by the ABC News Live streaming broadcast with Linsey Davis. "Prior to the actual debate night, each candidate, and their entourage of advisors, were allowed to come to the theatre to ‘experience’ all the production elements, offer suggestions, and request changes that would make them more comfortable," explains Size, whose team, led by production gaffer Jon Goss, happily made whatever changes were requested. The other members of the debate theatre lighting team included Ben Granucci, Gaffer/IATSE Crew Chief and Daniel DeFranco, Production Manager for LDG. Size was assisted by Sloane Kolesar, LDG Designer who handled all the complex drafting and paperwork.
It should also be noted that two other major sites were part of the Debate broadcast coverage: Anchor Row and the exterior of the NEC; The Spin Room at the Philadelphia Convention center. "Anchor Row was a series of three StageLine 100 stages parked on Arch Street, across the Independence Mall in front of the NCC," says Size. "These stages were used by various brands of the DISNEY/ABC Network to broadcast coverage from 4:00am through midnight (for the local news coverage by Philadelphia’s WPVI, plus Good Morning America and various other shows, including the pre- and post-debate show coverage/analysis. Since the NCC served as the background for the stages, the actual NCC building, including its landscaping and trees, all needed to be lit for the evening coverage so that the show backgrounds were ‘pleasing’ and didn’t look like a black hole. It was also important to “show off” the host building, adds the LD.
The lighting design for this coverage was handled by LDG’s Dale Knoth, along with his two gaffers, Neal Morton and Evan Cope (who covered evening and morning shifts).
https://www.livedesignonline.com/lighting/plot-luck-dennis-size-lights-harris-vs-trump
On September 10, 2024 — between 9:00pm and 10:45pm EST — an audience of over 67 million watched the first — and possibly only — US Presidential Debate between Vice President Kamala Harris and former President Donald Trump. The debate, held at the National Constitution Center (NCC) in Philadelphia, PA, was lit by Dennis Size, executive vice president of design at The Lighting Design Group, and moderated by David Muir and Linsey Davis, anchors of ABC NEWS. It was simulcast LIVE on 17 television Networks, and surpassed the previous June 27 Biden/Trump debate on CNN, which had a viewership of 51 million.
Since 1988 these final Presidential Debates, held every four years, were previously sponsored by the non-profit, nonpartisan, Commission on Presidential Debates (CPD), which is an independent organization, not controlled or funded by any political party/organization, and it does not endorse, support, or oppose political candidates. It was established under federal law to specifically ensure that Presidential and Vice-Presidential Debates reliably occur to reach the widest broadcast audience.
In May, the Biden/Harris Campaign informed the Commission that they refused to debate under the sponsorship of the CPD during the 2024 general election campaign, ‘sidelining’ and breaking a 35-year tradition. Instead, they proposed two debates with Donald Trump — one on CNN in June, and one on ABC in September. Although these two debates had VERY high ratings, it should be noted the CPD Presidential Debate between Trump and Hilary Clinton in 2016 had 84 million viewers," explains Size.
Click To Expand (and scroll to see multiple plots of the debate venue)
The NCC, a fabulous museum on the Independence Mall, was designed to celebrate the “greatest vision of human freedom in history, the U.S. Constitution.” The debate was held in the Sidney Kimmel Theatre, an intimate live audience-in-the-round multi-media performance space in the center of the NCC building. ABC tasked production designer Seth Easter to define the debate space and create the scenery. As part of the many requirements dictated by both political parties there would also be no audience.
Seth Easter created an atmosphere in which both the candidates and the moderators were wrapped in a ‘womb’ of several video screens (supplied by FUSE Technical Group)," says Size. "The gracefully stylish content Easter and his team created for the myriad of layered video walls throughout the space utilized the script of the U.S. Constitution in various ways and angles to serve as background, support the story of the Debate, and support the very site the debate was being held in. The designers also used various shades of blue to not only ensure candidates/moderators popped out from the background, but also to evoke the very serious tone of this event. The design was also a nod’ to the former CPD Debates, which always used simple blue backgrounds behind the candidates and accented the set with text of the Constitution. Easter’s graphic backgrounds were slightly defocused and darkened, which not only added more textural depth, but ensured the focus was always on the candidates."
Size supported the design concept in the lighting, using highlight and shadow – coupled with washes of rich blue toned light to support the overall artistic sensibility, while making sure the candidates did not blend into the background video screens.
"The candidate lecterns were kept 6’-0” apart (by request) and the moderators were 15’-0” from the candidates, resulting in a VERY intimate feel to the event. Using predominantly all moving lights (HES Lonestars and Halcyon Titanium fixtures) at relatively steep angles, I was able to selectively focus light precisely were needed. It was also important to keep unwanted/distracting shadows off the walls — which were only a few feet behind the candidates and moderators," Size points out. "The director, Lily Olszewski, utilized a dozen cameras to tell this story — and all but three were robotic."
The moving light package enabled Size to light the candidates and moderators from a variety of multiple angles — and have the versatility to make changes and “roll with the punches” as adjustments needed to be made. The existing house inventory of 20 ROBE Robins and 15 MAC Aura’s were augmented with the 75 HES moving lights (Sizes’ usual “weapon of choice”).
"The movers also solved the time constraints the lighting team faced with a very aggressive and compressed schedule," Size notes. "Nine trusses were rigged in the space on September 3 and 4. Lighting began on Wednesday, September 4, and camera blocking began on Saturday, September 7. Full rehearsal was Sunday, September 8. The HES LED movers, supplied by Main Light of NJ, allowed for adjustable color temperature – which was set at 4500 Kelvin and changed as needed – and the ability to soften/diffuse the beams of light to whatever worked best for the subject being lit. The programming was accomplished on a full size MA Lighting grandMA 3 by Max Rose."
On Monday, September 9, the Kimmel Theatre went “on the air” with the ABC NEWS broadcast of World News Tonightwith David Muir, followed by the ABC News Live streaming broadcast with Linsey Davis. "Prior to the actual debate night, each candidate, and their entourage of advisors, were allowed to come to the theatre to ‘experience’ all the production elements, offer suggestions, and request changes that would make them more comfortable," explains Size, whose team, led by production gaffer Jon Goss, happily made whatever changes were requested. The other members of the debate theatre lighting team included Ben Granucci, Gaffer/IATSE Crew Chief and Daniel DeFranco, Production Manager for LDG. Size was assisted by Sloane Kolesar, LDG Designer who handled all the complex drafting and paperwork.
It should also be noted that two other major sites were part of the Debate broadcast coverage: Anchor Row and the exterior of the NEC; The Spin Room at the Philadelphia Convention center. "Anchor Row was a series of three StageLine 100 stages parked on Arch Street, across the Independence Mall in front of the NCC," says Size. "These stages were used by various brands of the DISNEY/ABC Network to broadcast coverage from 4:00am through midnight (for the local news coverage by Philadelphia’s WPVI, plus Good Morning America and various other shows, including the pre- and post-debate show coverage/analysis. Since the NCC served as the background for the stages, the actual NCC building, including its landscaping and trees, all needed to be lit for the evening coverage so that the show backgrounds were ‘pleasing’ and didn’t look like a black hole. It was also important to “show off” the host building, adds the LD.
The lighting design for this coverage was handled by LDG’s Dale Knoth, along with his two gaffers, Neal Morton and Evan Cope (who covered evening and morning shifts).
https://www.livedesignonline.com/lighting/plot-luck-dennis-size-lights-harris-vs-trump
Who are you trying to convince here?
Hey, just asking, when was the last time a Republican won the popular vote?
- Sep 13, 2002
- 98,736
- 206,686
- 113
I heard it was being blinded by light on a tv set that made him rape that woman.
They're eating the dogs, they're eating the cats, they're eating the pets of the people that live there!
Yep, it was the lighting!
Oh, so it was the lighting that made Trump appear like an old, bitter, delusional man? Ah, I see. It must have been the lighting that convinced us he actually said legal Haitian immigrants were eating 'our' pets. Silly me—I thought he was losing his mind. But now, with this magical lighting explanation, everything makes perfect sense.
Trump doesn't need "selective lighting" to look bad - he does it quite well all by himself...
that is, in part, my point.
they don’t need to manipulate viewers in this way. Don’t you agree?
If, and it's a big if, because it might affect people or it might not. And if it does the effect might be so small that with someone qualified and competent that it wouldn't matter. And on the other side of argument with someone so incompetent and unqualified it wouldn't matter.
We've gone from biased moderators to biased lighting crew.
It's almost like the art of deception here is a science... and we are supposed to trust the science. So this all makes sense.
Remember, Trump's advisors and himself signed off on the room setup before the debate took place. Logic tends to dictate this includes the lighting, how they looked on camera, etc.
To me, this smacks of Trump et al missing the finer details of knowing how to make him look more favorable on camera more than anything else. And considering they to my knowledge haven't complained about this VERY specific thing about the debate...
We all know Trump basically loathes dipping his toes into prep type things when it comes to campaigning etc. My bet is they spent the absolute minimum of time on this as possible, and got the hell out of there.
