actual 3 point lighting
TRANSCRIPT
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3 POINT LIGHTINGPhotographic Imaging 1
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Interview Lighting
• Most important lesson
• These skills appear in other setups
• Pay attention to how often concepts reappear
• How the techniques work together and individually
• Adapt styles as needed for different situations
• Adapt your own lighting style
• Use this player to use each light setup
• Four lights• Key• Fill• Hair• Edge
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History• Contrast and angle affected by
windows with indirect sunlight
• Historic north-light window = modern soft lights for a classic look
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KEY LIGHT
• Primary or dominant source of light
• Out of frame source
• Hard or soft and its position helps set the mood
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Soft Key Light• Key light is a very
soft Rifa-lite 88 fitted with a 1000-watt bulb and a soft Egg Crate to control its spill
• Cheek closest to the camera: Notice the shadow line running down the cheek.
• Do you notice this in movies, television, and photographs?
Full lighting with Soft KeyRifa 88, 1000W
Soft lightRifa with Fabric Egg Crate
Simple Light Setups
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Hard Key Light
• Hard Key Light using a 250-watt Pro-light.
• Transition between the light and dark areas is more dramatic
• Rembrandt lighting: a light triangular patch under the near eye
• Rembrandt experimented with pointing the main light from different directions
• Both soft and hard key lights are approaching the face from the far side of the face, from the camera
• Short side: far side of the face from the camera
Full lighting with hard KeyRembrandt van Rijn, Portrait of a Lady with an
Ostrich-Feather Fan, c. 1658/1660Pro-light, 250W Focusing Hard light
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Key Light Techniques• Shadow on the nose:
• Easier to see with a hard light• Blends more attractively with a larger soft source. • Place the shadow along the crease between the nose
and the corner of the mouth.
• To remove shadow on the nose: • When light is anywhere from directly in front of the
subject to directly over the camera.
• With Key light 'face-on,' wrinkles have shadows• This position allows light to spill onto the background• To reduce spill move the subject and lights further
away from the back wall
• Hatchet lighting: shadow line runs right down the center of the face Bad nose shadow
Reduced nose shadowHatchet lighting
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Simple Light Setups
• One light for both Key and Fill. Second small light from behind to add shine to the hair
• 500-watt Omni-light with a nylon umbrella for the single Key / Fill light and a
• 125-watt L-light for the shine on the hair and shoulders.
Single light (Omni-light 500 W) with umbrella, positioned to function as Key light, with enough softness to also act as Fill light.Single light result
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Fill Light
• Fill is used to lighten shadows and control contrast ratios, defines the mood by lighting the shaded areas
• Contrast ratio: the ratio of amount of Key to Fill light
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Fill Light• Fill light alone Rifa 44,
250W Soft light, egg crate
• With Key light alone, darker side of the face may be too dark.
• Anytime you adjust the left side with Key light you are working on the Fill
• Amount of Fill that is added depends on your taste
• Change mood by raising or lowering intensity
Fill light aloneRifa 44, 250W Soft light
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Fill Light Techniques• Light placement near the
camera to hide the shadows behind the subject
• When Fill is directly over the camera it adds to the Key light's exposure
• Adjust the distance of Key Light to lessen the intensity
• Fill light is usually a soft source so using an umbrella or a softbox
• If fill adds another set of visible shadows, it’s wrong
• Double nose shadow: caused by having a Fill light that is almost as strong as the Key
A) Lower ratio of Key to Fill lightB) B) Higher ratio of Key to Fill lightC) C) Double Nose Shadow
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Reflected Fill Light• Bounce the Key light off of a
reflector to create fill light.
• Specular reflector: kicks back nearly as much light as the Key light
• A stippled reflector surface: soften reflected light and give less secondary shadows.
• Matte white card: provide a very soft reflected fill at close range.
• Negative fill: hang a dark cloth or piece of black foamcore on the fill side to prevent stray light from providing too much fill.
Specular Reflector bouncing Soft Key light to create FillCloseup detail
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Hair Light
• A light from behind the subject, often weaker than the Key or Fill, aimed at the head & shoulders.
• Creates a sense of separation between subject and background, and adds highlights & shine to hair
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Hair Light Techniques• Traditionally Hair lights are placed
directly opposite the camera.
• Small hard lights will make small hard lines and edges
• Larger hard lights provide an even, gentle wash
• With thin hair or bald heads, there is probably enough separation from the background
• For shiny heads: have separate lights for each shoulder
• Flag: part of the light falling on the head
Hair light aloneRifa 44, 250W Soft light
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Edge Light
• A light from behind the subject, often weaker than the Key or Fill
• Placed to create an edge of definition between subject and background.
• Used to define one dark object from another.
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Edge Light Techniques• Edge lights create
subtle defining 'edges', and line-like highlights, AKA kickers, liners or edge lights.
• It is popular to have a light edge along the jaw line.
• Edge lights are also aimed in the direction of the camera
Edge light aloneL-light, 100W
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Background Light
• Used for lighting the background of a set, as a whole or specific areas.
• Creating separation between subject and background.
• More than one fixture at a time
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Background Light Techniques• The background level is usually
down, or less bright than the subject.
• Highlight something in the background for interest.
• Cookaloris: a random pattern cut into wood, foam core, or black foil
• Turn off any room lights, or add distance between the subject and the background to limit more light.
• Consider using an Egg Crate on any softlights used.
• Other lights should all have barndoors to direct light only where it's wanted
Setup with cookaloris patternPro-light, 250W
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Background Light Options• Slash of light: used to treat
the background by putting two barndoors close together on a hard light source.
• Focusing the light to flood will give a larger and more consistent output level to the slash.
• Mix the slash with general background fill, making it less prominent,
• Use the slash accent alone in a darker background to increase its effect
Setup with Slash AccentOmni-light 500W focusable
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Background Light Options• Highlight Accent
• Add a highlight to an object in the setting to add visual interest
• Tiny L-light with 100 Watt lamp directed to place a small pool of light on the background
• Track lighting or a recessed ceiling light, looking natural
Setup with Highlight AccentL-light with 100W lamp
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Background Light Options• Color Background: more
obviously treated / theatrical effect.
• Provides a contrast of color and feel between the environment and the subject.
• Red gel to an Omni-light
• Use barn doors to trim any spill onto the subject
Setup with Color backgroundOmni-light 500W focusable