Film Lighting Basics

Most beginning and low-budget directors ignore lighting when making their films. Professional lighting sets are relatively expensive and are usually one of the first things to be left out when the budget gets tight.

Modern digital cameras work very well in low-light situations, so there is usually no need to use film lighting to help the camera “see” the shots. However, lighting is still — and will remain to be — important as a creative tool. Good lighting can help the filmmaker create or improve the artistic impression of the scene.

An elaborate studio lighting setup

Also, even with good low-light cameras, the shots will still look better with more and better lighting of the scene.

Three Point Lighting

The three point lighting system is the standard method for illuminating a person or an object. By using this system you can control the shadows of an object while adding depth to your shot.

As the name implies, this lighting system consists of three sources of lights: the key, the fill and the back light.

Key Light

The key light shines directly upon the subject and serves as its dominant illuminator; more than anything else, the strength, color and angle of the key light determines the shot’s overall lighting design.

The key light usually simulates or emphasizes natural light: direct sunlight or light that comes through a window or a door.

The key light is usually placed high or at a higher level than the subject.

In outdoor situations, the Sun usually serves as the key light. In this case, the subjects in the shot are arranged to be illuminated by the sun in the best possible way. Alternatively, you can wait for the Sun to come in a position that best suits your shot.

Fill Light

The fill light is supposed to partially fill in, or soften, the shadows created by the key light. It is of a lower intensity and softer than the key light. It shines on the subject, from a side angle relative to the key and is often placed at a lower position than the key (about at the level of the subject’s face).

In some situations you can use a reflector (such as a piece of white cardstock mounted off-camera, or even a white-painted wall) as a fill light instead of an actual lamp. Reflecting and redirecting the key light’s rays back upon the subject from a different angle can cause a softer, subtler effect than using another lamp.

Back Light

Also called rim, hair or shoulder light, the back light shines on the subject from behind, often (but not necessarily) to one side or the other. It gives the subject a rim of light, serving purely for modeling effect, in that it helps overcome the two-dimensional film image and makes the subject stand out from the background.

The three point lighting system

Additional Light Types

• eyelight — a small light that can be focused to reflect in the subjects eye, giving them a reflective sparkle
• background light — to illuminate the background
• kicker light — similar to a back light, i.e. it helps to separate the subject from the background. It is usually placed low, behind the subject, and may be opposite the key light.

Lowel DV Creator 44 kit — an affordable lighting kit (120V)