1. Basic terms and concepts
Photography is …
Inverse Square Law
Color Temperature
Mixing light sources
Filters (in camera, light mounted, window mounted)
Needs of camera / mood of shot / invisible
3 point lighting (background, kicker)
Flat lighting, 2-point?, bounce?
Typical equipment
Spot or flood
Quartz, HSF, HMI, or LED (3200 or 5500)
Grid or light stands – TV news, light stands

2. Reality check
We covered sequencing. You must shoot & edit matched action sequences.
We covered framing and point of view. you must have correct framing and point of view.
We covered close miking and on camera light required for interviews and stand ups.
Overall, grade = you apply what we cover
More about lighting and audio / sound

3. Light: we’re thinking about…
Equipment, what you use And
Aesthetics, how you make it look
Adjust it for the camera’s needs and what impact you want for the audience
NOT, what your eyes see

4. Three point lighting Key --spotlight -- 35-40° angle
Fill -- flood or spread spot (1/2 the key)
Back --spotlight (1.5-2x the key) (’hair light’)
Subjects and foreground
Compare to background -- also important
Separate subject from background
Kicker --comes from the side over the camera left shoulder of the subject (added to 3-point lighting)
External lights must be eliminated / mixing light sources

5. Basic terms and concepts
Incident light – direct light, from the source to the subject
Reflected Light – bounced, reflected before it reaches the camera’s sensor (or your eyes)
Light meter: incident, spot / reflected
Camera lens projects light to the focal plane, in the case of video cameras, the chip(s)
Single chip / mosaic filter
Three chips / beam splitter (RGB)

6. Lighting issues
1--Contrast Ratio: brightest to darkest: human eye 100:1, TV 30:1
Sports Stadium daytime shots (shader)
Monitors and adjusts the iris opening
AGC automatically adjusts
2--Color Temperature: measure of the frequency of the light wave
3,200° K / 5,500° K / red / blue
Random room lights

7. Basic terms and concepts
Invisible
Mood fits content
Level of work to make it look ‘natural’
In cinematography, DP
For videographer, camera settings plus light in scene
There’s always light there
Color temperature
Light levels
Using light in scene plus your light(s)
Cannot open up iris to compensate for bad lighting
Hard or soft
Key, soft box, reflected light / bounced light

8. Key to Effective Lighting: Shadow
Shadow gives images form, weight, texture, mood, depth. Also reveals spatial relationships.
Never point the camera toward the light
BLC in camera menu
How do you compensate for light coming from behind?
Light usually above, not at eye level
Note in upcoming samples

9. News field lighting Single camera, on camera light Light kit
Always on interviews
Flat lighting (see the subject’s face)
Inverse square law, camera / subject distance
Light kit
Dark location shooting, flood
Interviews: 2 point lighting
B-roll, event, scene: Interference with event
camera adjustment
Find something else to shoot

10. News field lighting “I really want that shot” –
But … “me in front of the lake with the PAC in the background” has me back lit. The light ‘must be in the subject’s face.’
What do I do?
Move somewhere else—you won’t get the shot you want.
Same issue with noisy environment and an interview or stand up …

11. Key to Effective Lighting: Shadow
Shadow gives images form, weight, texture, mood, depth. Also reveals spatial relationships.

12. 3 considerations before lighting
Key light placement – 180 degrees around subject – normal is 45 degrees to subject’s left
Quality of light – hard or soft
Shadow treatment – low key or high key

13. Separate the subject from the background !

14. 3 results of light hitting object
Catch lights in subject’s eyes

15. Typical 3 point lighting diagram

16. 3 Attributes of Key Light
Primary source of illumination
Primary factor of overall exposure
Determines placement and quality of shadow

17. Quality of Light Refers to hard or soft quality of light
“Pin” or undiffused sources create hard shadows that fall off sharply (fresnel)
Soft light is created by using large sources of diffused light.
Determined by two attributes
Large source
Relatively close to subject
(inverse square law)

18. Floor plan of interview Key Light Possibilities

19. Subject lit from 3:00 Position
90 degree angle to subject

20. Subject lit from 4:00 Position

21. Subject lit from 5:00 Position
Between 4:00 and 5:00 is 45 degree angle to subject

22. Subject lit from 6:00 Position
Flat lit

23. Diffused Lighting
Flat lit

24. Check the eyes Catch lights show proper placement
Broadlighting: when the key light shines of the side of the face closest to the camera
Short lighting: when the key light is on the side of the face opposite the camera; the camera is on the fill or shadow side

25. Short lighting
Side of face toward camera is shadow

26. Broad lighting – side of face toward camera is lit

27. Functions of Fill Light
Fills shadows created by key light
Does not create new shadow

28. Adding Fill for Portrait Lighting

29. Fill Light
Without Fill With Fill
Notice no new shadow

30. Backlight
Hard backlight Soft Backlight

31. Background
With Background Without Background

32. Hard vs. Soft Key Light
Hard Soft

33. Relative Distance of Soft Light Source
Close Far

34. Lighting Dark Skin with Large Sources of Light
Pin Light Source Large Diffused Source

35. What’s wrong with this setup?
One Light Setup
Use available Light from existing window
What’s wrong with this setup?

36. One-Light Setup
Available Light One-Light Setup

37. One-Light Setup Light directly in front Short Side of Face
Short lighting

38. Color Balance
Color Temps Mixing Key light with color correction

39. Warming the Scene
Normal Color Balance Tricking Camera to Produce Warmer Tones

40. Using Backlight as Key

41. Use Large sources for Specular Reflections

42. Backlight as Key Creates Form, Depth, Dynamic Images

43. Lighting effects
Silhouette – back lit

44. What does this communicate?
Lighting effects
Silhouette – back lit
What does this communicate?

45. Lighting effects
Cameo: spot on subject, dark background

46. Lighting effects
Limbo: softly lit (white) background

47. Camera Indoor, outdoor, automatic Manual vs. automatic (of anything)
Size of chip
Camera to subject distance
Light to subject distance

48. Lighting Instruments ‘lamp’ not ‘bulb’ Quartz lamp
3,200° K
500 / 1,000 / 2,000 watts / 10,000
New High Speed Fluorescent (HSF)
Traditional / HSF at 3,200° K
HMI lamp -- 5,500° K
(hydrogen medium-arc-length iodide lamp)
LED – lower wattage for same illumination

49. Lighting Instruments Spotlights Other standard spotlights
Controlled beam / pinned & spread
Fresnel
Other standard spotlights
Ellipsoidal / leko
cutters / blackwrap / flags
cookies / cucalorus
Barn doors / light pole / light stand
C-stand, mafer clamp

50. Lighting Instruments Floodlights Sometimes covered with scrim or gels
Pans/broads --rectangular shaped
Scoop -- Bowl shaped
Strip lights for background
Softlight -- bulb points inward
Sometimes covered with scrim or gels
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