Redrick is one of the better broadcasters in the Q.C. area, but !

the station lighting director seems deficient in his abilities to light black folks
https://www.youtube.com/watch?v=y1Jk8kUdjJE

is there something he should know about , either technique or equipment?

I haven't been in the broadcasting field in years, but I started out at one of the smaller network affiliate stations in production.

Proper set lighting is a bit of an art form.

The size of the set is important because a lot of stations these days have limited space. A larger set gives you some advantages when setting up key and fill lights. With a small set your lighting angles are extreme which can produce shadows.

Back in the day there used to be 3-4 people checking talent and set lighting. One or more of the production folks would have a good light meter for reading values around the talent (face/body) and set. One person would be on cameras moving around and checking various angles, a director or assistant director would be in control switching between cameras and also reading the values there. A show producer would be watching all of this. The production staff would create a lighting reference/chart with all of the lighting control values, camera settings/positions, chair positions, the works. Even the cameras themselves individually may require adjustments. Chrome on sets is usually challenging because of reflected light.

We had two main anchors, one had a very dark complexion and the other was so white he was translucent. Very challenging to consistently light as any factor can change the overall lighting, from top of the desk color to floor color, etc. Consistent makeup is even a factor.

Plus, it's a dynamic situation, as the bulbs age, they lose energy and when one is replaced, you should re-check the lighting values with talent present. If you ever see a studio set (even on Fox who likes to do a lot of camera moving shots) you can see marks on the floor for the talent to stand/sit. Even head angle is supposed to be consistent. One of the most important lighting setups is the greenscreening setup used by the weather person for whatever graphics/radar/maps they are using.

What probably makes it difficult now is money.

When I was in the business you would have 3-4 breathing/with heartbeat studio camera people with headsets, an audio person (usually in audio booth), and a director/asst director/producer and graphics person in control areas at the minimum during a show. Everyone had a script/shot/story sheet for the show and it was considered a mark of the director's talent to have variety in camera movements during the show. I've been to a few stations in the last few years and they run on reduced staffs, with most of the cameras locked down on single shots. Some run with just one live cameraperson, depending on market.
(Big difference between production union and non-union stations and markets). Special shows/event can require even more staff.

Additionally, most talent folks are coached by the production manager/camera staff on what colors they should wear (don't wear chroma-key green, or any color matching the weather set greenscreening, dark-complexion talents generally shouldn't wear dark/shirts/suits, very light complexion folks don't wear white suit with a white shirt, no really busy Herb plaids/stripes, etc). Technology has improved all of this immensely.

Usually when you see this (when the set was lighted correctly previously) something has changed- a barn door or lighting assembly was bumped, a bulb was replaced, etc...

is it just me or could it be done better?

The fact that he's standing right in front of a TV probably doesn't help, as a bright light on the screen would make it look crappy, I bet.

His face tends to blend in with the images on the screen much more so than if it were in front of a more solid-color background. It would probably be better if he were in front of something light more light colored, but not really bright. Cameras have a tough time with dark faces in front of bright backgrounds.

The lighting on that portion of the set has very low light levels. You can see noticeable shadows on Mr. Terry below his chest level/arms/etc.

I'll bet if you sent a very polite note to the affiliate station owner they would follow up on it...

just yesterday one of the cameras ( unmanned) traveled right across in front of him ,

his expression was all w.t.f.?
comedy gold