Beyond Three-Point Lighting: Part 02

(Cinematic Lighting Lesson 06)

Summary: In Part 01 we covered side lighting and cross-key lighting as alternatives to using the (overused) three-point lighting method. In Part 02, we’ll show you key-side fill and the “Robert Richardson.”

Length: 5:05 minutes


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17 replies
  1. withinadecade
    withinadecade says:

    Hi there, great videos – thanks. Where do you get your large diffusion from?
    What would one be searching for to buy to create the same large source soft light.
    Many thanks

    Reply
  2. Jacobs
    Jacobs says:

    Thanks for your videos, really helpful!
    how do you behave when you cant’ use far side key and place the camera on the “shadowy” side of the set.
    I had to place the key light on the left behind the camera in the dialogue scene and it was awful!!!
    thanks!

    Reply
    • Tim
      Tim says:

      There are times when the room size or the background limit where you can place the camera or the lights. If you can’t change locations or move things around within a small space, another option is to change to a “beauty” lighting set-up where the light is a little higher and closer to the camera. We show how to do this in Tricks of the Trade #1: Lighting Faces. The tricky thing, though, is that with narrative shoots, changing the lighting change change the mood of the scene. This is when location scouting ahead is so important so you can experiment and come up with a lighting scheme that fits the mood of the scene and the space.

      Reply
  3. Jacobs
    Jacobs says:

    Great video!
    In the key side fill scenario can you explain how would you light the colse up of the second actor?
    thanks!

    Reply
    • Tim
      Tim says:

      You would move the lights to wrap around the second actor (woman in blue) while still keeping the light hitting the same side of her face. One way to do this is to keep the key light in the same position (moved slightly) and moving the fill light to behind the first actor (woman in dark purple) since the camera would most likely be placed to that actor’s left side. Another option since the shot you suggest would be a close up, is to have the key light act as a hair light and bring in a third light to act as fill, placed in the same place I suggested above.

      Reply

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