334 Video Digital Communication & Production
Copyright Goodheart-Willcox Co., Inc.
Placed opposite the key light, the fi ll is usually fi
farther to the side and not as high as the key, which
helps reduce the cheek, lip, and neck shadows.
How completely the fi ll light moderates fi
these shadows depends on the setting and mood
of the scene. In a cheerful interior, the shadows
might be slight; in an atmospheric night scene,
they might be so deep as to obscure details
within them. In any case, the fill light should not fi
be bright enough to make the subject lose the
“modeling” that creates the illusion of depth.
Rim (Back) Light
The rim light is typically behind the subject
and placed quite high, Figure 16-4. If, however,
its light stand appears in the shot, you can move
the rim light aside until it clears the frame.
To keep them outside the frame, rim lights
are frequently mounted overhead on clamps
or on stands with lateral arms. The brightness
of the rim light depends mainly on the lighting
style—pronounced for pictorial realism and
moderate for realism. For naturalism, the rim
Figure 16-2. Key light placement.
Plan Elevation Effect
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Figure 16-3. Fill light placement.
Plan Elevation Effect
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Figure 16-4. Rim light placement.
Plan Elevation Effect
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