Video: Digital Communication & Production, 3rd Edition Page 338 (352 of 592)

●
The fi ll light is about three times as far as
the key light from the subject.
●
The background light is far enough to the side
so that the hot spot created by the near edge
of its beam and the overlapping key light
spill (indicated in red) is outside the frame.
The natural style is very popular for lighting
interviews because the lighting can match the
location, and because the backgrounds are
frequently close behind the subjects. Also, soft
lighting is fast and easy to work with.
Lighting Backgrounds
If you have the room and the lighting
resources, it is often best to move subjects away
from backgrounds so that you can light them
separately. Spots or fl oods are effective for
background lighting because their longer throw
allows them to be placed far enough to the sides
to remain out of the frame.
As noted elsewhere, a light’s throw is the distance
between the instrument and the subject or
background that it is lighting.
background so that the light spill can model it.
Keep the lighting unit low to simulate window
light, and place it at about 8:30 on the clock so that
it “wraps around” the subject’s face (Figure 16-8).
Two-Light Design
A second softlight provides a more versatile
fi ll source. With this design, it often helps to
place key and fi ll lights at the heights you would
use for three-point lighting. With two lights, you
can move the fi ll around as far as three o’clock,
Figure 16-9.
Alternately, you may wish to continue to use the
reflector for fill, and bring up the background with
the second light.
Three-Light Design
A third light gives you better control over
both fi ll and background, Figure 16-10. Studying
the light plan in Figure 16-10, note that:
●
The subject’s distance from the background
permits the two to be lit separately.
Figure 16-8 One-light design.
Horizontal placement Effect of the design Vertical placement
Figure 16-9 Two-light design.
Horizontal placement Effect of the design Vertical placement
338 Video Digital Communication & Production

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●
The fi ll light is about three times as far as
the key light from the subject.
●
The background light is far enough to the side
so that the hot spot created by the near edge
of its beam and the overlapping key light
spill (indicated in red) is outside the frame.
The natural style is very popular for lighting
interviews because the lighting can match the
location, and because the backgrounds are
frequently close behind the subjects. Also, soft
lighting is fast and easy to work with.
Lighting Backgrounds
If you have the room and the lighting
resources, it is often best to move subjects away
from backgrounds so that you can light them
separately. Spots or fl oods are effective for
background lighting because their longer throw
allows them to be placed far enough to the sides
to remain out of the frame.
As noted elsewhere, a light’s throw is the distance
between the instrument and the subject or
background that it is lighting.
background so that the light spill can model it.
Keep the lighting unit low to simulate window
light, and place it at about 8:30 on the clock so that
it “wraps around” the subject’s face (Figure 16-8).
Two-Light Design
A second softlight provides a more versatile
fi ll source. With this design, it often helps to
place key and fi ll lights at the heights you would
use for three-point lighting. With two lights, you
can move the fi ll around as far as three o’clock,
Figure 16-9.
Alternately, you may wish to continue to use the
reflector for fill, and bring up the background with
the second light.
Three-Light Design
A third light gives you better control over
both fi ll and background, Figure 16-10. Studying
the light plan in Figure 16-10, note that:
●
The subject’s distance from the background
permits the two to be lit separately.
Figure 16-8 One-light design.
Horizontal placement Effect of the design Vertical placement
Figure 16-9 Two-light design.
Horizontal placement Effect of the design Vertical placement
338 Video Digital Communication & Production

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so your interiors are likely to be locations. Every
location presents challenges, and meeting them
offers the satisfaction that comes from successful
problem solving.
Small Interiors
Small interiors are usually diffi cult to work
in, for several reasons (Figure 16-12).
Cramped Quarters
Lights require room, not only for the
instruments and stands, but for the throws of the
lights. Remember: you reduce light intensity by
moving the unit away from the subject. Spots
and broads are favored for cramped interiors
because of their small size. Spots are especially
useful in tight quarters because they can be
focused to vary the light output without moving
the unit. Their intensity can be further reduced
by using screens.
Lighting Backgrounds for Exposure
When the background is too dark, the image
loses apparent depth. So, you may want to wash
some light on it to make it more visible. Be careful
not to place too many highlights or to make
the background too bright, to avoid distracting
attention from the subject(s) in the foreground.
Lighting Backgrounds for Texture
You can often make dimensional surfaces
(such as plaster or fabric) more interesting by
bringing out their texture. For good cross lighting,
place spots or broads as close to the backing as
possible and rake the light across the surface.
Lighting Backgrounds for Depth
Sometimes, you can enhance depth by
highlighting surfaces (like furniture) in front of
the background, as well. Generally speaking,
lights hung above the frame work effectively.
Adjusting Intensity
When lights are placed close to a background,
the beam is much “hotter” near the light. To
even out the light pattern, use a half or double-
half screen positioned in the spotlight’s fi lter
holder so as to reduce light output on the side
near the wall.
Outdoors, background lighting is usually created
using hard-surface aluminum reflectors, Figure 16-11.
Lighting Locations
Few video productions are shot on sound
stages (except those made for cable or broadcast),
Figure 16-10 Three-light design.
Horizontal placement Effect of the design Vertical placement
Figure 16-11 A hard aluminum reflector.
(Bogen Manfrotto)
Chapter 16 Lighting Applications 339

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One-Light Design
For close shots, a single soft source can
deliver satisfactory lighting—especially when
paired with a refl ector for additional fi ll light.
The subject should be close enough to the
a more natural, “unlit” appearance. The key to
this approach is soft light. Spots and broads can
be used if heavily diffused, but large sources,
such as umbrellas or softboxes, are often easier
to work with.
“Rugged” vs. “Glamorous” Lighting
How you position and diffuse your lighting
instruments often depends on whether you wish to
emphasize facial modeling for a so-called “rugged”
look, or whether you prefer to de-emphasize it
for “glamour.”
Rugged lighting exaggerates the planes and
angles of the face and emphasizes skin texture.
To do this:
●
Keep the key light high for more pronounced
shadows.
●
Reduce or omit key light diffusion. The harder
the beam, the more it emphasizes skin and
other textures.
●
Avoid over-filling to retain enough shadows
for pronounced facial sculpting.
Glamorous lighting uses exactly the opposite
approach:
●
Place the key light lower for moderate shadows.
●
Use considerable diffusion (or a softlight) to
minimize skin texture.
●
Add fill light until the shadows are relatively
faint, but avoid over-filling the neck area to
downplay aging skin.
●
Use a generous rim light to accent hair.
The cinematographer contributes to the effect by
using wide angle lens settings for rugged lighting,
and telephoto lens settings for glamour.
Glamorous lighting.
Rugged lighting.
Figure 16-7 Using a basic four-instrument lighting setup.
Naturalism Expressionism Realism Pictorial realism
Chapter 16 Lighting Applications 337

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