Lighting Applications 16 Lighting Applications

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.

Lighting Subjects Classic studio lighting “Natural” lighting Lighting backgrounds

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

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

Key Light Placement Plan Elevation Effect Goodheart-Willcox Publisher

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Light the Close Shots Light the subjects Light the background

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

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

Lighting Problems Hard-to-light subjects Specialized light sources

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

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

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

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

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

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

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

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

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

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

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

Electronics Place small lights low Use pale blue or green gels

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

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

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

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

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

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

Day-for-Night Lighting Setup Goodheart-Willcox Publisher

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

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

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

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

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

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

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

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

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

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

Tabletop Cinematography Goodheart-Willcox Publisher

Tenting Goodheart-Willcox Publisher

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

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

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