Common Lighting Terminology Ambient Light The light already present in a scene, before any additional lighting is added.

More info: Ambient Light Incident Light Reflected Light Colour Temperature Light seen directly from a light source (lamp, sun, etc). Light seen after having bounced off a surface. A standard of measuring the characteristics of light, measured in kelvins. More Info: Colour Temperature Chart

Contrast Ratio The difference in brightness between the brightest white and the darkest black within an image. More Info: Contrast Ratio Key Light Fill Light The main light on the subject, providing most of the illumination and contrast. More Info: 3 Point Lighting A light placed to the side of the subject to fill out shadows and balance the key light. More Info: 3 Point Lighting A light placed at the rear of a subject to light from behind. More Info: 3 Point Lighting Light directly from a source such as the sun, traveling undisturbed onto the subject being lit. Light which appears to "wrap around" the subject to some degree. Produces less shadows or softer shadows. A controlled, narrowly-focused beam of light. A broad beam of light, less directional and intense than a spot. Light from an ordinary light bulb containing a thin coiled tungsten wire that becomes incandescent (emits light) when an electric current is passed along it. Tungsten colour temperature is around 2800K to 3400K. Also known as incandescent light. Type of lamp in which a tungsten filament is sealed in a clear capsule filled with a halogen gas. A light which has a lens with raised circular ridges on its outer surface. The fresnel lens is used to focus the light beam. Incandescent lamps produce heat by heating a wire filament until it glows. The glow is caused by the filament's resistance to the current and is called incandescence.

Back Light Hard Light Soft Light Spot Flood Tungsten

Halogen Fresnel Incandescent

Ambient Light
Ambient light means the light that is already present in a scene, before any additional lighting is added. It usually refers to natural light, either outdoors or coming through windows etc. It can also mean artificial lights such as normal room lights. Ambient light can be the photographer's friend and/or enemy. Clearly ambient light is important in photography and video work, as most shots rely largely or wholly on ambient lighting. Unfortunately ambient light can be a real nuisance if it conflicts with what the photographer wants to achieve. For example, ambient light may be the wrong color temperature, intensity or direction for the desired effect. In this case the photographer may choose to block out the ambient light completely and replace it with artificial light. Of course this isn't always practical and sometime compromises must be made. On the other hand, many of history's greatest photographs and film shots have relied on interesting ambient light. Unusual lighting can turn an otherwise ordinary shot into something very powerful.

Colour Temperature Chart

Colour temperature is a standard method of describing colours for use in a range of situations and with different equipment. Colour temperatures are normally expressed in units called kelvins (K). Note that the term degrees kelvin is often used but is not technically correct (see below).

Technically speaking...
Colour temperature means the temperature of an ideal black body radiator at which the colour of the light source and the black body are identical. (A black body is a theoretical radiator and absorber of energy at all electromagnetic wavelengths.)

Colour Temperature in Video

For video operations the relevant temperatures range from around 2,000K to 8,000K these are common lighting conditions. In practical terms this usually means selecting lights, gels and filters which are most appropriate to the prevailing light or to create a particular colour effect. For example, a camera operator will select a "5600K filter" to use outside in the middle of a sunny day.

Terminology

When referring to the unit kelvin, it is not capitalised unless it is the first word of a sentence. The plural is kelvins (e.g. "The light source is approximately 3200 kelvins"). The symbol is a capital K (e.g. "The light source is approximately 3200K"). When referring to the Kelvin scale, it is capitalised (e.g. "The Kelvin scale is named after William Thomson (1824 1907), also known as Lord Kelvin".

Degrees kelvin
According to the The International System of Units (SI) , colour temperatures are stated in kelvins, not in degrees Kelvin. The "degrees" part of the name was made obsolete in 1967. However, the "degrees" reference has remained in common use in media industries.

Contrast Ratio is a measurement of the difference in brightness between the whitest white and the darkest black within an image. A ratio of 300:1 means the brightest point in the image is 300 times as bright as the darkest point. A higher contrast ratio therefore means a larger difference in brightness. Contrast ratio is of interest in two situations: 1. Cameras: When recording an image (video, film, photography) 2. TVs, Monitors, etc. When choosing or setting up a playback device (TV, computer monitor, etc

The Standard 3-Point Lighting Technique

The Three Point Lighting Technique is a standard method used in visual media such as video, film, still photography and computer-generated imagery. It is a simple but versatile system which forms the basis of most lighting. Once you understand three point lighting you are well on the way to understanding all lighting. The technique uses three lights called the key light, fill light and back light. Naturally you will need three lights to utilise the technique fully, but the principles are still important even if you only use one or two lights. As a rule:

If you only have one light, it becomes the key. If you have 2 lights, one is the key and the other is either the fill or the backlight.

Key Light
This is the main light. It is usually the strongest and has the most influence on the look of the scene. It is placed to one side of the camera/subject so that this side is well lit and the other side has some shadow.

Fill Light
This is the secondary light and is placed on the opposite side of the key light. It is used to fill the shadows created by the key. The fill will usually be softer and less bright than the key. To acheive this, you could move the light further away or use some spun. You might also want to set the fill light to more of a flood than the key.

Back Light
The back light is placed behind the subject and lights it from the rear. Rather than providing direct lighting (like the key and fill), its purpose is to provide definition and subtle highlights around the subject's outlines. This helps separate the subject from the background and provide a three-dimensional look. If you have a fourth light, you could use it to light the background of the entire scene.

Measuring Light
There are many different units for measuring light and it can get very complicated. Here are a few common measurement terms: Candela (cd) Unit of luminous intensity of a light source in a specific direction. Also called candle. Technically, the radiation intensity in a perpendicular direction of a surface of 1/600000 square metre of a black body at the temperature of solidification platinum under a pressure of 101,325 newtons per square metre. Footcandle (fc or ftc) Unit of light intensity, measured in lumens per square foot. The brightness of one candle at a distance of one foot. Approximately 10.7639 lux. Lumen (lm) Unit of light flow or luminous flux. The output of artificial lights can be measured in lumens. Lux (lx) Unit of illumination equal to one lumen per square metre. The metric equivalent of footcandles (one lux equals 0.0929 footcandles). Also called metre-candle

Types of Lighting
These are some common types of light you'll often hear about in film, video and photography. Note that these definitions are not always rigid and some people may interpret them a little differently. Blonde Redhead Pepper Light HMI Halogen Work Lamp Other Lights 1000-2000w, used as a key flood light for large areas. 650-1000w, used as a key flood light for large areas. 100-1000w, small light used as a more focused key or fill light. A high-quality type of light which uses an arc lamp instead of filament bulb. 150-500w, used as a key flood light for lighting large areas. This is a low-budget lighting solution. Domestic light bulbs can be used at a pinch, ideally as a secondary light such as fill or backlight. Many video cameras have built-in lights or the ability to mount a light these are useful in emergencies but provide poor quality lighting.

Chinese Lanterns

A low-cost light, useful in some situations.

Instruments / Housing Fresnel A light which has a lens with raised circular ridges on its outer surface which are used to focus the light beam.

Blonde Lights
A blonde light is basically a bigger version of a redhead. Power rating can be 1000 to 2000 watts, although the term generally refers to a 2000w open-face unit. These are powerful lights, useful as key floodlights for lighting large areas. The example pictured here is an Ianiro 2Kw blonde. Note: The term "blonde" is often used loosely there is no rigid definition.

Red Head Lights

Red Head is a term used to describe general-purpose lights common in visual media work. Power rating is around 6501000w, typically 800w. Red heads can be used as a key flood light for large areas, but are also useful as fill and backlights. The example pictured here is an Arrilite 800w open-face focusing tungsten floodlight. The beam is focused using the yellow control at the back this adjusts the reflector rather than the lamp, which should give the lamp a longer life because it is not being moved. Note: The term "redhead" is often used loosely there is no rigid definition.

Pepper Lights
Pepper lights are small lights, around 100 - 1000w (200w is common). They can be used as key or fill lights in small areas, or to light a certain feature, create lighting contrast and effects, etc. Pepper lights can be also be used to accent a person's eyes.

HMI Lights
HMI (Hydrargyrum Medium-Arc Iodide) is a type of light which uses an arc lamp instead of an incandescent bulb to produce light. HMI lights are high-quality and correspondingly expensive. They are popular with film and television production companies but their price puts them out of reach of those with modest budgets. HMI lights require a ballast, an electronic (or magnetic) device which provides the ignition pulse and regulates the arc.

Advantages of HMI lights include:

Efficiency: 2 to 5 times as efficient as incandescents. This means they use less power and run cooler. Colour temperature: HMIs run at around 5600K, daylight temperature. This makes daylight shooting easier, as well as eliminating loss of light from gels (which are necessary with incandescents). Light Quality: Directors of photography speak highly of the light produced by HMIs.

Halogen Work Lamp

Halogen work lamps are designed for workplaces and similar situations where a flexible means of providing strong lighting is required, e.g. builders, mechanics, etc. Work lamps come in various sizes and configurations, from portable units with handles to stand-mounted multihead versions. Power rating is generally 150w to 500w. Halogen work lamps are sold by trade suppliers and DIY stores. Work lamps can be a cheap option for video lighting. They are useful as a key flood light for lighting fairly large areas. You must remember though, that these lamps are not specifically designed for video or photography. They are not ideal and usually require a diffusion gel for the best effect. The protective grills may also interfere with the light (you may be able to remove them). You might also want to consider waterproof work lamps for extra safety, especially if you are working outdoors.

Chinese Lanterns
A chinese lantern is a paper ball (or cylinder, cube, etc) with a light bulb in the middle. They are very cheap to buy and use a standard household light bulb. For video and photographic work, chinese lanterns are obviously limited by the small amount of wattage. However they do create a nice light that can be useful for close-up shots. In a wider setting, multiple lanterns can be used for effect. Being made of paper, chinese lanterns are potentially dangerous. They can catch fire so be careful. For storage they can be collapsed to a disk the same diameter as the expanded sphere.

Fresnel Lenses
A fresnel lens (pronounced fra-NELL) is a special type of lens with raised circular ridges on its outer surface. The illustration on the left shows a cross-section of a fresnel lens. Fresnel lenses are much thinner than conventional lenses, so they are lighter and lose less light through absorption. Lights with fresnel lenses are often referred to simply as fresnels. The light from a fresnel can be made to spread out (flood) or concentrate into a tight beam (spot) by adjusting the distance between the lamp and the lens. The fresnel lens was invented by Augustin-Jean Fresnel in 1821 for use in lighthouses. Modern uses include overhead projectors, projection televisions and solar energy systems.

Lighting Equipment
Some common types of equipment used in video and photography lighting. 18% Gray Card A gray-coloured card which reflects 18% of the light which falls upon it. Used as a reference to calibrate light meters and set exposure. Ballast Consoles A device used to control the electrical current in a light. Hardware and software systems which control lighting. Operated by the lighting technician, consoles coordinate lighting displays on stages, studios, etc. A tool used to measure light and indicate the ideal exposure setting. Also known as an exposure meter.

Light Meter

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Reflector Board A specially-designed reflective surface used to act as a secondary light source. The board is lightweight and flexible, and is normally folded up for transport in a small carry-case. Gels Materials which are placed in front of a light source to alter it's characteristics, e.g. colour temperature or dispersion (see diffusion gels). A professional-level instrument which measures the spectrum of light. Technically speaking, a spectrometer analyses the electromagnetic spectrum and measures the intensity of radiation as a function of wavelength. Systems used to support lights and hold them in the correct position.

Spectrometer

Stands & Clamps

18% Gray Card

An 18 Percent Gray Card is a simple gray-coloured card which uniformly reflects 18% of the light which falls upon it. Gray cards can be used as a reference to set the camera exposure or to calibrate a light meter (light meters are used to determine which exposure setting is required to produce a medium gray tone). Gray cards are usually made from coated cardboard or polystyrene and come with a protective cover. They are an inexpensive and useful addition to the photographers' kit.

How to Use a Gray Card

To set your exposure with a gray card, first make sure the camera is in manual mode or is able to hold its settings when you half-depress the shutter button. Position the card immediately in front of the subject, ensuring that the lighting on the card is exactly the same as the lighting on the subject. If you are using a light meter, take your reading now. Otherwise, half-depress the camera shutter button to save the exposure setting until you fully depress the button (and take the picture). (Note: This process is very similar to performing a white balance).

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Tips

At the start of your roll of film, take one photo of a gray card. This acts as a colour correction reference for the film processor. Do not use any old gray piece of cardboard for a gray card. You really need a professionally-made one. When you first purchase a gray card, run a series of tests to establish exactly how it performs in both bright outside light and lower artificial light. Use slide film rather than print, as slide film does not correct exposure errors.

Ballast
A ballast is an electrical device used to control the current in an electrical circuit. A lighting ballast controls the start-up and regulation of fluorescent and high intensity discharge (HID) lamps. A ballast is necessary for fluorescent and HID lamps because they have a negative resistance, which means if they are connected to a constant voltage source they will continue to draw more current until something melts down. The ballast controls the current and keeps everything working correctly. Ballasts come in many varieties and complexities, from a simple resisters to computercontrolled units.

Lighting Consoles

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Lighting consoles are systems which control lighting - much as a sound mixer controls audio and a vision switcher controls video. Consoles are typically a combination of hardware and software. Operated by a lighting technician, consoles are used in a wide range of applications including stage, studio, film set, etc. Modern consoles include options for automating certain tasks and effects. Complex productions rely heavily on such automation.

Light Meters
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A light meter, also known as an exposure meter, is a tool used to measure light levels. Light meters are commonly used in photography, motion film and video to help determine the ideal exposure setting. Many cameras have built-in light meters and this function is often carried out automatically. However serious professionals still regularly take manual readings.

Reflector Board Sometimes referred to as a "flecky board", this is a specially-designed reflective surface which is usually used to act as a secondary light source. It is particularly useful as a fill light when working in strong sunlight. Reflector boards come in white, silver or gold surfaces. Many reflectors have a different type of surface on each side, giving you two lighting options. Gold surfaces provide a warmer look than silver or white. If you don't have a reflector board you can improvise. Almost any suitably-sized object with a reflective surface will do. Some examples include:

Windscreen sunshades for automobiles Polystyrene sheets Tin foil on cardboard (try both sides of the foil for different effects) Whiteboard

How to Fold Up a Reflector Board

Reflector boards are lightweight and flexible, and are normally folded up for transport in a small carry-case. They can be tricky to fold up if you've never done it you may want to read the instructions below and practice in private before having to do it in front of the whole crew!

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Hold the board with your left hand Keep moving your hands in a facing forward and your right smooth motion. facing backward. Move your left hand forward and down, while moving your right hand backwards and up.

The board will end up folded in a compact circle. You can then return the board to its case.

Light Stands, Clamps, etc

In the context of lighting equipment, the term Lighting Support refers to the range of systems used to support lights and hold them in the correct position. This usually means light stands and clamps. Clamps and other accessories are sometimes referred to as grip gear. Like microphone stands, most lighting stands and clamps use a standard system of fittings. On simple light stands like the ones pictured, the light slides down onto the fitting and screws tight. Clamps like those below can be attached to any appropriate solid object.

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Lighting Interviews
The normal rules of lighting apply to interviews. This page covers some general tips specific to interview lighting, whether or not you have your own lights. See our lighting tutorials for more detailed information about lighting technique.

If You Have Your Own Lights

You need to decide whether or not they are actually necessary. Although conventional wisdom says you should control interview lighting yourself if possible, in many situations the existing light will be fine and more practical.

Shooting outside
The weather will obviously influence your decision. If the natural light is sufficient there may be no need to add artificial light. If you do use your own lights you will need

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to add the appropriate gels to match your lights to the daytime colour temperature. If the sun is too strong you could find a shady location.

Shooting inside
Find the best location - ideally a room with plenty of space and the ability to control existing light. Unless you have a good reason to use existing light sources, try to eliminate them all (close curtains, turn off lights, etc). Then set up your own lights.

If You Have No Lighting

In many situations you are limited to the available light. This is where a reflector board (pictured) can be a lifesaver. Easy to carry and use, it can create useful lighting effects and compensate for unfavourable conditions. If you don't have a reflector board you can sometimes improvise with other reflective objects.

Shooting outside
With luck the natural sunlight will be fine, using the sun as the key light. If the sun is low, be careful not to make the guest squint. Strong sunlight creates strong shadows which can be balanced with a reflector.

Shooting inside
Try to avoid mixed lighting, e.g. sunlight through a window mixed with artificial light. Depending on the strength and quality of light sources, you could either turn the artificial lights off or block out the window light. Overhead lights aren't desirable as they create ugly shadows on the face. If they are all you have you may be able to balance them with a reflector.

Camera-Mounted Lights
In many situations a light mounted on the camera is all you have. This is common in mobile operations such as news coverage. Although it is a simple, practical solution, it does not produce particularly good lighting and should only really be used when better lighting is not possible. Note: Lights which draw power from the camera battery will reduce the battery's charge time. 17

General Tips for Shooting Interviews

The KISS Principle
When you're starting out shooting IVs it's probably best to keep it simple. It's better to have a boring static shot for 60 seconds than an empty or soft shot. Remember, the important stuff is what the guest is saying, not how creative your framing is.

Dealing with Newbie Guests

Guests who have never been interviewed before can be a challenge, especially if they are very nervous. It's important to reassure them and make them feel comfortable. Here are a few things you might find yourself saying to the nervous newbie: "Just treat it as a normal conversation. There's no reason for you to worry about anything else that's happening. The best thing you can do to look good for the cameras is to ignore them." "Don't worry if you make a mistake or muddle up your words - just carry on. It actually happens all the time in interviews, but because it's something the audience is used to seeing in everyday conversations they won't even notice." "You look fine!" Note: If the interview is to be edited, you can point out that any serious mistakes can be cut out.

Pace Yourself (and Everyone Else)

Fatigue is the enemy. Interviewers and guests who are tired do not perform well, so be careful not to exhaust them. When preparing the set, use stand-ins to take their place while you set up the shots. Do not ask for multiple takes unless necessary (you will often find the first take is the best anyway).

Clothing
Beware of clothing which is un-camera-friendly. This includes shirts and jackets with fine patterns which produce the moire effect. Dark glasses or caps which obscure/shade the eyes are not good.

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Be Prepared
Think about everything that could happen during the interview. Especially if you're shooting off-the-shoulder and there's a chance that your subjects could move around, you need to know how you're going to move. Try to ensure that unwanted bystanders aren't going to interrupt the IV.

Summary

Interview technique is a required skill for any serious camera operator. Know what the goal of the interview is and stay focused on that goal. Know the editing requirements. Double-check everything, then do it again. Be prepared for anything.

Lighting Safety Tips

Keep bystanders away from lights they are notorious for knocking them over. Always be extremely careful with the heat created by lights. The barn doors can burn your fingers. Wait until lights cool down before touching or moving them. Don't handle bulbs with your fingers use a piece of cloth or something else. Only use material for gels which is specifically designed for lighting. Don't use paper, tracing paper, baking paper, plastic, etc. Never attach anything to a light which isn't designed for the application. Make sure stands are stable and loose cables are taped to the ground. Lights are power-hungry don't overload sockets. Never plug more than 2Kw of lighting into a domestic power point. Make sure all lights have adequate ventilation and never cover them.

Tips for Lighting People

Harsh light is not flattering; soft light creates a warmer feel.

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Avoid strong nose shadows or any strong contrast on the face. Place the key light on the same side as the camera and fill the shadows. Avoid reflections from glasses. You may need to adjust the position of the subject and/or lights to do this. Beware bald heads they can reflect a lot of light and appear over-exposed. Try weakening or softening the light with a diffusion gel. Soft light and diffusion helps reduce the appearance of wrinkles.

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