2. Lighting Applications16
Lighting Applications

3. Objectives
Recall the techniques and characteristics of both “classic” and “natural” lighting.
Explain different method and applications for lighting backgrounds.
Identify effective solutions for common lighting problems.
Recall effective methods to light interior and exterior night scenes.
Identify effective techniques for lighting frequently encountered assignments.

4. Lighting Subjects Classic studio lighting “Natural” lighting
Lighting backgrounds

5. Classic Studio Lighting
Often called three-point lighting
Three lights on subject:
Key light
Fill light
Rim (back) light
Background light

6. Key Light Provides main illumination Placed at about 4:30 on clock
15°−30° higher than subject’s face
Throws distinct shadows on subject
Goodheart-Willcox Publisher

7. Key Light Placement
Plan
Elevation
Effect
Goodheart-Willcox Publisher

8. Fill Light Fills in shadows created by key light
Placed opposite key light
Plan
Elevation
Effect
Goodheart-Willcox Publisher

9. Rim Light High and behind the subject
Brightness depends on lighting style
Plan
Elevation
Effect
Goodheart-Willcox Publisher

10. Background Light Usually motivated
Subject should be slightly brighter than background
Plan
Elevation
Effect
Goodheart-Willcox Publisher

11. Complete Lighting Setup
Figure 16-6 (include labels)
Plan
Elevation
Effect
Goodheart-Willcox Publisher

12. “Natural” Lighting Key factor is soft light
Spots and broads can be diffused
Large sources are easier to work with

13. Rugged vs. Glamorous Lighting
Rugged lighting
Exaggerates planes and angles of the face
Emphasizes skin texture
Glamorous lighting
De-emphasizes facial modeling
Moderate shadows
Minimizes skin texture

14. One-Light Design Subject should be close to background
Light placed at about 8:30
Plan
Elevation
Effect
Goodheart-Willcox Publisher

15. Two-Light Design Key and fill lights Second softlight provides fill
Plan
Elevation
Effect
Goodheart-Willcox Publisher

16. Three-Light Design Key, fill, and background lights Better control
Plan
Elevation
Effect
Goodheart-Willcox Publisher

17. Lighting Backgrounds Light subjects and backgrounds separately
Purposes for lighting backgrounds
Exposure
Texture
Depth
Intensity

18. Lighting Small Interiors
Cramped quarters
Insufficient power supplies
Amperage
Wattage
Voltage
Background spill
Ceiling bounce
Hiding lights
Goodheart-Willcox Publisher

19. Hiding Lights in Small Interiors
Taped to a wall
Clamped to a partial wall
Clamped to a chair
Lowel Light Inc.

20. Lighting Large Interiors
Cannot be fully lit with instruments from a small production kit
Strategy:
Light subjects, not the space
Break action into parts
Light and shoot each part separately
Start with wide shots
Re-light for close shots

21. Lighting Plan for Large Area
A broad lights most of the background
Key lights aimed at each action area
Two broads add overall fill light
Completed light plan
Goodheart-Willcox Publisher

22. Start with the Wide Shots
Light action areas to be included in wide shots
Light background fully
Add general fill light

23. Light the Close Shots
Light the subjects
Light the background

24. Lighting Moving Subjects
Need to light all action areas
Setup for wide shots usually works well
Goodheart-Willcox Publisher

25. Exteriors Use sunlight in good weather Use reflectors
Soft reflectors for even coverage
Aluminum reflectors for long throw
White reflectors for fill
Screens preserve natural light patterns

26. Lighting Problems
Hard-to-light subjects
Specialized light sources

27. Subject Problems Heavy faces Thin faces Darker complexions
Bald subjects
Subjects wearing glasses

28. Heavy Faces Highlight center of face Use vertical barn doors
Place light at about 6:00
Place soft fill lights at 3:00 and 9:00
Goodheart-Willcox Publisher

29. Thin Faces Make sides of face brighter than center
Use soft key lights at about 6:00 and 9:00
May be able to omit key light entirely
Goodheart-Willcox Publisher

30. Lighting to bottom half reduced
Darker Complexions
Can create contrast problems
Use barn doors and half screens to block or moderate light
Straight lighting
Lighting to bottom half reduced
Goodheart-Willcox Publisher

31. Bald Subjects Best handled by makeup department If no makeup
Neutral powder eliminates reflections
If no makeup
Move lights up and farther to one side

32. Subjects Wearing Glasses
Move light out of incidence/reflection path
45° or greater
Reflections from softlights may be okay

33. Specialized Light Sources
Include practicals and environmental light sources
Rarely in the right place
Rarely operating at the right intensity
Establish the light source by showing it on camera
Replace light source with more controllable light

34. Practicals Handling depends on lighting style
Naturalistic/expressionistic
Excess contrast acceptable
Realism/pictorial realism
Establish practical, then use video light
Balance visible light by adjusting intensity

35. Moving Light Sources Simulate practical light when not on screen
Flashlight
Small spotlight with handle
Lantern
Diffusion and orange filter on a broad
Candle
Broad and gloved hand to create flickering
Flashlight beam
Goodheart-Willcox Publisher

36. Firelight Place broad very low Gel with orange filter sheet
Wave “grass skirt” cookie in front of light
Goodheart-Willcox Publisher

37. Signs Gel a light with appropriate color
Move flag rhythmically in and out of light path for blinking light

38. Electronics
Place small lights low
Use pale blue or green gels

39. Lighting Interior Scenes at Night
Use low-key mode
Establish practicals
Control window light
Light for highlights

40. Fake the Darkness Establish light level Establish “night”
Synchronize scene lights
Goodheart-Willcox Publisher

41. Lighting Exterior Scenes at Night
Light only important action areas
Back-cross lighting
Rake the background
Look for motivation
Use atmosphere to scatter light
Goodheart-Willcox Publisher

42. Lighting at “Magic Hour”
Brief time before sundown
Light qualities look attractive on screen
Requirements
Capture all footage in brief time
Manually reset white balance frequently

43. Day-for-Night Lighting
Make daytime shots look like night
Shot recorded normally
Completed day-for-night version
Goodheart-Willcox Publisher

44. Guidelines for Day-for-Night Lighting
Set white balance for incandescent
Use back-cross lighting
Frame off the sky
Include incandescent light
Goodheart-Willcox Publisher

45. Day-for-Night Lighting Setup
Goodheart-Willcox Publisher

46. Lighting Assignments Interviews Stand-up reports Compositing
Small objects and areas
Graphic materials
Internet lighting

47. One-Person Interviews
Softlights
Small spot as rim light
Lighting setup
Closeup of the subject
Goodheart-Willcox Publisher

48. Two-Person Interviews
On-screen interviewer must be lit
Lights for both people placed outside frame
Single shots of interviewer
Subject, over the interviewer’s shoulder
Reverse setup of the interviewer
Lighting setup
Goodheart-Willcox Publisher

49. Cheating Moving a subject between camera setups Invisible to viewers
More working room
Separate subject and background
Better-looking background
Invisible to viewers

50. Stand-Up Reports Presented by reporters standing at the scene
Single technician acts as cinematographer, lighting director, and sound recordist

51. Reflector plus small on-camera key light
Daytime Reports
On-camera front fill light highlights reporter’s face
Reflector provides supplementary light
Reflector alone
Reflector plus small on-camera key light
Goodheart-Willcox Publisher

52. Nighttime Reports On-camera light provides illumination
Battery-powered light on stand used instead of reflector
One-light setup
A second light added, on stand
On-camera light offset for better modeling
Goodheart-Willcox Publisher

53. Compositing Keep lighting uniform Even background lighting
One softlight at each side
Foreground/subject lighting
Place subjects as far forward as possible
Classic spotlight lighting in foreground
Keep foreground light off background
Place light high and to the side

54. Lighting for Compositing
Spotlights with diffusion evenly wash the background
Subject is as far in front of the background as practical
An alternative setup: soft lighting on both subject and background
Manfrotto, USA

55. Small Objects and Areas
Most professional lights are scaled for larger subjects
Techniques:
Tabletop cinematography
Tent lighting
Ring lights

56. Tabletop Cinematography
Goodheart-Willcox Publisher

57. Tenting
Goodheart-Willcox Publisher

58. Ring Lights Used when other lighting techniques are not practical
Surround lens completely
Throw only one soft shadow
Litepanels, Inc.

59. Graphic Materials Scan or record video Place material on flat surface
Vertical
Horizontal
One light on each side of material
Aim lights at 45° angle to reduce reflections
Goodheart-Willcox Publisher

60. Internet Lighting Use classic four-source lighting
Use rim lighting to sharply separate subjects from background
Aim for high key lighting
Keep background lighting simple