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