3. Definition:The primary or dominant source of light in a
shot. It oftensuggests an out frame source. Choice of fixture (hard
or soft) and its position will help set the mood of the shot.
4. Soft Key Light The key light is a very soft Rifa-lite 88
fitted with a 1000- watt bulb and a soft Egg Crate to control its
spill The cheek closest to the camera has the shadow line running
down the cheek. Begin to notice how often you see this in
movies,television and photographs.Full lighting with soft KeyRifa
88,1000W Soft lightRifa with FabricEgg Crate
5. Hard Key Light 250-watt Pro light. Thetransition between the
lightand dark areas is moredramatic. REMBRANDT: move keylight until
you see a lighttriangular patch under thenear eye. Both soft and
hard key lightsare approaching the facefrom the far side of the
face,from the camera.Full lighting with hard keyRembrandt van Rijn,
portrait of a Lady with an Ostrich-FeatherFan, c. 1658/1660
Pro-light, 250W Focusing Hard light
6. Key Light Techniques Keep eye on the shadow it creates from
the nose. Nose shadow is easier to see with hard light but blends
more when you use a large soft source. Find an angle and height for
your key light that places a shadow along the crease between the
nose and corner of the mouth. Placing your light directly in front
of the subject, slightly away from lens takes away the nose shadow.
Key light face-on is effective for lightening the shadows from
wrinkles. This position is very flat light so you need to balance
the needs of filling wrinkles or a slimming effect. Hatchet
lighting- adjust the height of the key light to a better fill deep
set eyes.
7. Bad nose shadow/Reducednose shadowHatchet lighting
8. Fill Light
9. Definition:Fill is used to lighten shadows and control
contrast ratios (the ratio of amountof Key to Fill light). Combined
with the Key light, Fill light helps define the mood by lighting
the shaded areas in a range of intensities. It can vary from none,
to a level equaling the key light.
10. Fill Light Rifa 44, 250W Soft light Anytime you are
treating the side left shaded by the key light you are working on
the fill. Keep in mine the look you are attempting Alter the mood
of a shot by raising and lowering the intensityFill light aloneRifa
44, 250W Soft light
11. Fill Light Techniques Consider light placementpositions
near the camera tohide the shadows behind thesubject.
Near-the-camera position iswhen you want to fillshadows and still
maintain alittle modeling.
12. A. A. Lower ratio of Key to Fill lightB. B. Higher ratio of
Key to Fill light C. C. Double Nose Shadow
13. Reflected Fill Light-Bounce the Key light off of a
reflector.-Using a matte white card will providea very soft
reflected fill at close range.Note: In highly reflective rooms, if
your lighting is too flat, you might considera technique called
negative fill. This isoften done by hanging a dark cloth orpiece of
black foamcore on the fill side to prevent stray light from
providing too much fill. Specular Reflector bouncing Soft, Key
light to create Fill close up detail.
14. Hair Light
15. Definition:A light from behind the subject, often weaker
than the Key or Fill, aimed at the head & shoulders. It may
also be called a backlight. It creates a sense of separation
between subject and background, and adds of highlights & shine
to hair. Often widened to include a subjects shoulders.
16. Hair Light Techniques Rifa 44, 250W soft light Hair lights
are placed directly opposite of the camera. Gives it a nice shine.
Play with adding subtle edge to the side of the head and neck.Hair
light aloneRifa 44, 250W Soft light
17. Edge Light
18. Definition:A light from behind the subject, often weaker
than the Key or Fill, is placed to create an edge of definition
between subject and background. Similar inpractice to Hair light,
it is also a form of backlight normally used to define onedark
object from another. For example, a dark jacket from a similarly
darkbackground.
19. Edge Light Techniques Creates subtle defining edges and
line like highlights. Light edge along the jaw line. Be careful to
keep any liht from shining into the front of the lensEdge light
aloneL-light, 100W
20. Background Light
21. Definition: Used for lighting the background of a set, as a
whole or specific areas, Orlighting objects in the background of
the set that are significant to the image.It also contributes to
creating separation between subject and background. Often the
function of the light is fulfilled by more then one fixture at a
time.
22. Background Light Techniques Less bright then the subject
Setup with cookaloris patternPro-light, 250W Other lights should
all have barndoors to direct light only where its wanted.Setup with
cookaloris patternPro-light, 250W
23. Background Light Options
24. Background Options Highlight Accent Add light to the object
in the setting Color background A popular technique in news
magazine format TV over the past 10 years has been to give the
background a more obviously treated effect.
25. Simple Light Setups
26. Simple Light Setups 500-watt Omni-light One light will work
for both key and fill. A second smalllight from behind to add a
little shine to the hair adds afinishing touch. Make necessary
changes: height of stand exposure
27. Single light (Omni lgiht 500W) with umbrella,positioned to
function as key light, with enoughsoftness to also act as Fill
light.
28. http://www.lowel.Com/edu/foundations of lighting.html