Chapter 16 Lighting Applications 343
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• Light the background fully. Since the walls or
other backings will fill much of the frame, fi
ensure that they are fully lit. Add lights if
desired to bring up furnishings or other
contents of the area.
• Add general fi ll light. fi This will bring up the
overall light level. Ceiling bounce light
works well, although direct fill from broads fi
(as in Figure 16-16) is easier to control.
Check visible fl oor areas carefully to make fl
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
fine-tuning the key and fill fi lights and fi
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.
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
Chapter 13, Camera Operation, and Chapter 14,
Lighting Tools, cover many outdoor lighting procedures.
Here 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.
Choosing Reflectorsfl
Except for rim lighting, a rule of thumb for
refl is “the softer the better,” for evenness flectors
of coverage and subject comfort.
Choose aluminum refl when a flectors
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 subjects’ eyes.
White refl are excellent for fill. flectors In fi
closeups, subjects can sometimes 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 reflectorsfl
can throw effective fi ll light up to 50′ fi or more,
Figure 16-19.
(ovoverhead) (ov
1
2
3
4
Figure 16-17. To light each action area, fill light (1) is
moved closer, an extra fill light (2) adds all-over fill, and
rim lights (3 and 4) are added to the first two acting areas. g ( ) g
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Figure 16-18. Reflectors, screens, and silks are
useless on sunless days.
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