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</div><div class="twikiRevInfo"><span class="twikiGrayText"><span class="twikiToolbarElem">Cinelerra.LightingForVideo</span><span class="twikiToolbarElem">r1.1 - 07 Jan 2004 - 19:38 - <a class="twikiLink" href="../Main/AlexFerrer">AlexFerrer</a></span><span class="twikiToolbarElem"><a href="#TopicEnd">topic&nbsp;end</a></span></span></div></div>
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<h3><a name="Lighting_For_Video"> </a><a name="_Lighting_For_Video_"> </a> <a class="twikiLink" href="LightingForVideo">Lighting For Video</a> </h3>
<p />
Lighting is an art onto itself, one that requires a lifetime of training and a good measure of raw talent.  Nevertheless, there are some basic rules that can be applied to almost any project.  The most important set of rules concerns the three-point lighting setup.
<h4><a name="Key_light"> </a><a name="Key_light_"> </a> Key light: </h4>
<ul>
<li> The first light you will use is the "key" light, the primary source of illumination on your scene.  It might be the light of the sun, light from a window, a lamp, or anything else that would act as the most likely source.  Set this light above and to the side of your subject so that it points at your subject at around a thirty degree angle (down) and a thirty degree angle from the line of the camera.  The angles can vary by about 10 or 20 degrees, depending on your intent, location and other considerations, but keep this rule of thumb in mind.  The idea is to create areas of light and shadow so that your subject looks more three-dimensional; in a two-dimensional medium, mastering this effect is crucial to creating a living, believable scene.  Putting the light in the same line as the camera, as with camera-mounted lights, will wash out your subject and flatten your shot.
</li>
</ul>
<h4><a name="Fill_light"> </a><a name="Fill_light_"> </a> Fill light: </h4>
<ul>
<li> Once your key is set, the fill light is placed on the opposite side of the camera, somewhat lower and much less bright.  The fill light will "fill" in the shadows created by the key light, but only enough to keep them from being too harsh.  Very stylized scenes may use very little fill, creating stark ares of light and dark on the subject.  Usually, though, you will want to soften these shadows with the fill light to create a balanced yet well-defined image.
</li>
</ul>
<h4><a name="Back_light"> </a><a name="Back_light_"> </a> Back light: </h4>
<ul>
<li> The back light completes the three-point setup by casting highlights from behind, giving the subject a more three-dimensional look.  This will take some experimentation the first time you try it, but it does have a marked difference on the quality of the shot.  By casting light from behind, you are able to fill out the shape of the subject and bring up details that a two-light arrangement would miss.  The back light need not be white light like the key and fill, and can often be used to change the mood subtly using amber, blue or other color gels.
</li>
</ul>
<h4><a name="Other_lights"> </a><a name="Other_lights_"> </a> Other lights: </h4>
<ul>
<li> There are a great many other tricks and techniques you can try when lighting your scene.  A small "catch" light can be shone directly in the line of the camera to create highlights in the eyes of human subjects.  You can position your lights from below a subject to create a sinister effect (akin to putting a flashlight under your face during ghost stories).  Placing the key light on the left of the camera will create shadows to the right, which is pleasing to Western, left-to-right audiences, while placing the key on the left can create an image that appears jarring or creates tension for that same audience.
</li>
</ul>
<p />
<h3><a name="Lighting_considerations"> </a><a name="Lighting_considerations_"> </a> Lighting considerations: </h3>
<h4><a name="Heat"> </a><a name="Heat_"> </a> Heat: </h4>
<ul>
<li> Lights are hot, and will heat up any indoor shooting location of reasonable size.  Be aware of that in case you don't want your actors (or crew) to sweat too much.
</li>
</ul>
<h4><a name="Time"> </a><a name="Time_"> </a> Time: </h4>
<ul>
<li> The bulk of your time setting of a shot might be spent exclusively on lighting.  If actors are busy (or too expensive to keepround), try using stand-ins to set up shots, get the right lighting balance, move equipment out of the frame, etc.  Then, do a quick check with your actual cast before you begin shooting in earnest.  Set up and strike time, especially for lights, should always be factored into your daily shooting schedule.
</li>
</ul>
<h3><a name="Color"> </a><a name="Color_"> </a> Color:   </h3>
<ul>
<li> Although all white light seems white, there are actually subtle but noticeable differences.  Regular bulbs tends to cast yellow.  Fluorescent bulbs can produce greenish light.  Natural light tends to be bluer and changes with the cloud cover.  In general, do not try to mix light sources.  Mixed indoor and outdoor lights will create bad color combinations that are difficult to correct in postproduction.  
</li>
</ul>
<h4><a name="White_balance"> </a><a name="White_balance_"> </a> White balance: </h4>
<ul>
<li> Most modern digital cameras feature a choice of auto and manual white balance.  Try to use the auto setting on a properly lit white object or card, then lock those settings to manual for the shot.  This makes the white balance truer and more consistent if it needs to be corrected in post-production.
</li>
</ul>
<p />
-- <a class="twikiLink" href="http://www.ftconsult.com/twiki/bin/view/Main/MikeEdwards">MikeEdwards</a> - 07 Jan 2004
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