Video: Digital Communication & Production, 3rd Edition Page 343 (357 of 592)

Lighting Moving Subjects
If there is subject movement from one
action area to another, you will need to light all
of them. Typically, the setup used for the wide
shots will work well (Figure 16-17).
Exteriors
Chapters 13 and 14 cover, in passing, many outdoor
lighting procedures. Following are some additional
suggestions for professional looking results.
If the sky is overcast or you are shooting
entirely in the shade, you cannot do much in the
way of lighting, Figure 16-18. In sunny weather,
however, you can use your outdoor resources.
Figure 16-16 Lighting a large area with the instruments in a typical small production kit.
A broad lights the background
Two broads provide overall fill light
Key lights positioned for each action area
Completed lighting plan
Figure 16-17 To fully light each acting area, one fill
light (1) is moved closer, an extra fill light (2) provides
all-over fill, and two rim lights (3 and 4) accent the first
two acting areas.
Chapter 16 Lighting Applications 343

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Lighting Moving Subjects
If there is subject movement from one
action area to another, you will need to light all
of them. Typically, the setup used for the wide
shots will work well (Figure 16-17).
Exteriors
Chapters 13 and 14 cover, in passing, many outdoor
lighting procedures. Following are some additional
suggestions for professional looking results.
If the sky is overcast or you are shooting
entirely in the shade, you cannot do much in the
way of lighting, Figure 16-18. In sunny weather,
however, you can use your outdoor resources.
Figure 16-16 Lighting a large area with the instruments in a typical small production kit.
A broad lights the background
Two broads provide overall fill light
Key lights positioned for each action area
Completed lighting plan
Figure 16-17 To fully light each acting area, one fill
light (1) is moved closer, an extra fill light (2) provides
all-over fill, and two rim lights (3 and 4) accent the first
two acting areas.
Chapter 16 Lighting Applications 343

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Changing Light and Weather
Refl ectors must be tended constantly,
especially aluminum units that throw narrow
beams. Between the time when a setup is begun
and the moment when the shot is recorded,
the sun can shift enough to misdirect the
refl ector light.
Refl ectors vs. Screening
Sometimes, you may prefer a screen or
even a silk to a refl ector. On the one hand,
framed screens or silks cannot be used in wide
shots, so matching the close shot lighting is
more diffi cult. On the other hand, screens
preserve the natural light patterns better than
refl ectors, and silks can also replace white
refl ectors when used vertically (Figure 16-20).
Choosing Refl ectors
Except for rim lighting, a rule of thumb for
refl ectors is “the softer the better,” for evenness
of coverage and subject comfort.
Choose aluminum refl ectors when a long
throw is needed, for backgrounds or wide shots.
Avoid using them for key lights (except when
placed well back) to keep them out of subject’s eyes.
White refl ectors are excellent for fi ll. In
closeups, subjects can even hold them themselves
below the frame line.
Matching Wide and Close Shots
Lighting wide shots is easier outdoors
because subjects do not need as much modeling,
and because aluminum refl ectors can throw
effective fi ll light up to 50′ or more, Figure 16-19.
Figure 16-18 Reflectors, screens, and silks are
ineffective on sunless days.
(Sue Stinson)
Figure 16-20 A silk on the left side and a reflector
on the right.
(Photoflex)
A C B
Figure 16-19 Matching lighting for wide and close shots. A—The wide shot is filled with a reflector at the
eight o’clock position, placed 25′ away. B—The closeup lighting matches the wide shot lighting. C—The reflector
is 25′ away.
344 Video Digital Communication & Production

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Start with the Wide Shots
When the camera will see most of the area,
use your lights as follows:
●
Light the background fully. Since the walls or
other backings will fi ll much of the frame,
ensure that they are fully lit. Add lights to
bring up furnishings or other contents of
the area.
●
Light the action areas to be included in wide
shots. Choose important places within the
area for additional key lights. The closest
action area also gets a rim light.
●
Add general fi ll light. This will bring up the
overall light level. Ceiling bounce light works
well, although direct fi ll from broads (as
in Figure 16-16) is easier to control. Check
fl oor areas carefully to make sure they get
enough light.
The idea is to plan camera setups so that each
major action area will also be covered in closer
angles.
Light the Close Shots
After the wide shots have been recorded,
you will re-light for each action area in turn:
●
Light the subject(s). Typically, this means
fi ne-tuning the key and fi ll lights and adding
some rim light for separation.
●
Light the background. You can take some
instruments away from the background
lighting by lighting only the parts that will
appear in the close shots.
Take care that the key, fill, and background lights
match the appearance of the wide shot lighting.
Here is how to implement this strategy. In
this example, we will use four spotlights and
three broads, Figure 16-16.
●
A single broad lights the background—the
door area will be covered by a key light.
●
A key light is positioned for each action
area. The key farthest from the camera is
hung overhead to keep it out of frame. A
rim light for the closest action area is also
added overhead.
●
Two broads are placed to provide overall
fi ll light.
Figure 16-14 Small lights can be gaffer-taped to walls, or supported almost anywhere. Larger lights can be
clamped to walls and doors.
(Lowel Light Inc.)
Small light taped to a wall Small light clamped to a chair Large light clamped to a partial wall
Figure 16-15 Too large to be lit with a small lighting
kit, this room is lit only by its ceiling fluorescent
fixtures—with unsatisfactory results.
342 Video Digital Communication & Production

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