LIGHTING

Lighting Tutorials

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Light is the "raw material" for creating visual images. Everything related to vision is related
to light. Whether the medium is still photography, motion film, video or computer-generated
images, light forms the basis of everything you see.
It is important to think of lighting not as something extra which is
added in some situations, but as a fundamental part of all visual
media production.
Groundwork

Tutorials

Lighting
Terminology

Types of Light
(Lamp)

Lighting
Equipment

Colour
Temperature

Contrast Ratio

3-Point Lighting

Lighting for Video

Indoor Shooting with External

Windows

Lighting Effects

DIY Lighting Kit

More Lighting Tips

Common Lighting Terminology

Ambient Light The light already present in a scene, before any additional lighting is added.
More info: Ambient Light
Incident Light Light seen directly from a light source (lamp, sun, etc).
Reflected
Light

Light seen after having bounced off a surface.

Colour
Temperature

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

The main light on the subject, providing most of the illumination and
contrast.
More Info: 3 Point Lighting

Fill Light

A light placed to the side of the subject to fill out shadows and balance the
key light.
More Info: 3 Point Lighting

Back Light

A light placed at the rear of a subject to light from behind.

More Info: 3 Point Lighting

Hard Light

Light directly from a source such as the sun, traveling undisturbed onto the
subject being lit.

Soft Light

Light which appears to "wrap around" the subject to some degree. Produces
less shadows or softer shadows.

Spot

A controlled, narrowly-focused beam of light.

Flood

A broad beam of light, less directional and intense than a spot.

Tungsten

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.

Halogen

Type of lamp in which a tungsten filament is sealed in a clear capsule filled

with a halogen gas.

Fresnel

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

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.

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

1000-2000w, used as a key flood light for large areas.

Redhead

650-1000w, used as a key flood light for large areas.

Pepper Light

100-1000w, small light used as a more focused key or fill light.

HMI

A high-quality type of light which uses an arc lamp instead of filament bulb.

Halogen Work 150-500w, used as a key flood light for lighting large areas. This is a lowLamp
budget lighting solution.
Other Lights

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 650-1000w, 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 multi-head
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.

Lighting Equipments
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).
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 computer-controlled
units.

Lighting Consoles

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

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 speciallydesigned 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,
reflectors have a different type of
two lighting options. Gold
than silver or white.

silver or gold surfaces. Many

surface on each side, giving you
surfaces provide a warmer look

If you don't have a reflector

Almost any suitably-sized object
Some examples include:

board you can improvise.

with a reflective surface will do.

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!

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

Diffusion Gels & Materials

In the context of lighting, diffusion means to spread the light
beam out and make it more random.
When you have a single source of light like the sun, the
resulting light is very directional and will create shadows
where the light does not fall. On an overcast day, water
particles in the clouds diffuse the sunlight and make it appear
to be coming from the whole sky (reducing shadows in the
process).
Video lights tend to create directional light. In some cases
this is desirable but sometimes this type of light can be too
harsh. In particular, you don't usually want strong shadows on

The board will

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

a person's face.
One way to mitigate this problem is to use some sort of
diffuser. This usually comes in the form of a gel, filter or
piece of material which is placed in front of the light.
Professional light fixtures have special holders or clips on the
barn doors to attach gels and filters. Wooden clothes pegs can
also be used.

More elaborate setups might use large sections of diffusion

material mounted in a frame, or in a "softbox" like those
pictured left.
You can also bounce light of walls, ceilings and materials
(e.g. foamcore) to create different diffusion effects.
Warning: Always be very careful when mounting any gel or
material near a light. Lights can get very hot avoid
flammable material and never
attach plastic pegs to a light
fixture.

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
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 threedimensional look.
If you have a fourth light, you could use it to light the
background of the entire scene.

Lighting For Video & Television

Video lighting is based on the same principles as lighting for any other visual media. If you
haven't done so already, you should read through our general lighting tutorials before reading this
page, which deals specifically with lighting issues for video.

Light Sources

All video uses some sort of lighting, whether it be natural light (from the sun) or artificial lights.
The goal of video lighting is to choose the best source(s) to achieve your goals.
First and foremost you need enough light. You must ensure that your camera is able to record an
acceptable picture in the conditions. With modern cameras this is seldom a problem except in
very low light or strong contrast.
Assuming you have enough light, you must then consider the quality of the light and how the
various light sources combine to produce the image.
If you have clashing light sources (e.g. artificial interior lights with sunlight coming through the
windows), you may find the colours in your image appear unnatural. It's best to control the light
sources yourself if possible (e.g. turn off the lights or close the curtains).
When moving between locations, think about what light source you are using. If you move from
an outside setting to an inside one with artificial lights, the amount of light may seem the same
but the colour temperature will change according to the type of lights. In this case you need to
white balance your camera for the new light source.

Contrast Ratio

Contrast ratio is the difference in brightness between the brightest and darkest parts of the
picture. Video does not cope with extreme contrast as well as film, and nowhere near as well as
the human eye. The result of over-contrast is that some parts of the picture will be too bright or
too dark to see any detail. For this reason you need to ensure that there is not too much contrast
in your shot. See Camera Contrast Ratio for more details.

Camera-Mounted Lights

The camera-mounted light is an easy, versatile solution used by amateurs

and professionals alike. Typically the light will draw power from the
camera battery, although a separate power supply can be used. Be aware
that lights which draw power from the camera battery will significantly
shorten the battery's charge time.
This type of lighting does not create pleasing effects. it is a "blunt
instrument" approach which is really only designed to illuminate the scene enough to allow
normal camera operations. However it is a simple, practical solution.

Night-Mode Video Shooting

Some cameras offer a special "night vision" option which allows you to shoot with virtually no
light. This mode uses infrared light instead of normal visible light.
This is useful in extreme circumstances when you have no other option. Unfortunately the results
tend to be poor-quality monochrome green.
Of course, you can use this mode for a special effect if it suits the content.

Lighting with Background Windows

Shooting pictures indoors with external windows is a common issue for photographers and video
makers. The large difference in light levels between the room and the outside view make finding
the correct exposure a challenge. Video is particularly susceptible to this problem due to it's
relatively low contrast ratio.
If you can't avoid having the window in shot, in most cases the only thing you can do is use the
manual iris to set your exposure correctly for the subjects in the room. This means that the
window will be over-exposed but that's a necessary compromise. If you wish to show the outside
view, expose the iris for the window (which will make the room dark).
If you have time and resources available, there are two things you can do to help even out the
lighting so it's possible to capture both areas effectively:
1. Add more light to the room
2. Reduce the light from the window

(1) Increase the Lighting in the Room

Any extra light you can shine on the subject will decrease the contrast ratio
between them and the window.
In some cases switching on the standard room lighting can help, although this
often introduces new problems such as clashing colour temperatures and harsh
downward shadows.
It's possible that a reflector board could be useful.

(2) Reduce the Light from the Window

You can reduce the amount of light coming

through the window by placing some sort of filter
over it.
In the example pictured here, black scrim (a fine
mesh material) is taped to the window. You can
see that the background is much more manageable
through the scrim.
If the entire window needs to be in shot you'll
need to be careful and discreet with the scrim/filter. It can be difficult getting exactly the right fit.
If only part of the window is in shot it's a lot easier.
Filters can cause unwanted side effects such as ripple and the moire effect. Being further away
from the window helps.

Lighting Effects

Cold / Warm
You can add to the feeling of coldness or warmth by using additional filters or doubling up on
gels. Very blue means very cold, very red/orange means very hot.

Moonlight (or any night-time light)

This is an old standard technique which has become something of a clich. You can make
daytime seem like night by lowering the exposure slightly and adding a blue filter to the camera.
However a convincing illusion may require more effort than this you don't want any daytime
giveaways such as birds flying through shot. You also need to think about any other lighting
which should appear in shot, such as house or street lights.

Firelight
To light a person's face as if they were looking at a fire, try this: Point a redhead with orange gel
away from the subject at a large reflector which reflects the light back at the subject. Shake the
reflector to simulate firelight (remember to add sound effects as well).

Watching TV
To light a person's face as if they were watching TV, shine a blue light at the subject and wave a
piece of cloth or paper in front of the light to simulate flickering.

DIY Lighting Kit

Professional lighting kits for video and photography are very expensive. Fortunately for the
budget-impaired enthusiast, it is possible to put together a perfectly adequate lighting kit for less
than $US100.
A good beginner's lighting kit should include:

Three (or more) lights with stands

Reflector board(s)

Power cables, extension leads and a multi-box.

The Lights
The standard budget light is the halogen work lamp which can be found at any hardware store or
purchased at amazon.com for as little as $US10. These come with or without a stand and range
from around 150W to 500W.
The stand-less units have a small handle and can be rested on any solid surface such as a table or
the floor. This is not ideal for your main lights but it can be useful for fill lighting, backgrounds,
etc. In any case these units are so cheap that it can't hurt to buy a couple.
Lights with stands are more versatile and you should have at least one of these (preferably two or
three). Try to find a stand which goes up to around 2 metres (the height of a tall person). Taller
than 2 metres would be even better but this type of light stand doesn't normally go that high.
Some lights (like the W12665 unit pictured) can be used with or without the stand, making them
even more versatile.
One drawback of these cheap lights is that the colour of the light is quite yellow. As long as you
white-balance your camera this isn't a huge issue, but if you want the best quality lighting you
can try one of these solutions:
1. Purchase a 32K white bulb (ask your hardware supplier).
2. Place a coloured gel in front of the light to correct the colour.

Speaking of gels, the other big drawback of these lights is that there is no built-in system for
mounting accessories like gels and diffusers. You can improvise by creating a wire holder or
separate stand for accessories.

You will also find that you can't alter the spread of these lights, i.e. from floodlight to spotlight.
This is not a big concern for most people but if you do need this functionality you might need to
consider a professional video lighting kit.

Reflectors
Professional reflector boards are used to add or control light in a scene. You can make your own
from just about any large reflective object, although the exact colour and reflectivity will
obviously affect your lighting. Common suggestions for an
improvised reflector include:

Windshield sunshade (pictured)

Sheet of foamcore

Polystyrene sheet

Stiff cardboard, or tin foil on cardboard (try both sides

of the foil for different effects)

Whiteboard

Survival blanket (gold on one side and silver on the

other)

Hobby shops have a lot of items which may be of interest. Online auction sites are also worth
checking as reflectors can often be found fairly cheap there.

Power
You will need a few power extension cables of varying lengths, plus one or more multi-boxes
with built-in trip switches. It helps to have a separate carry case for power cables.

Safety

Lights get very hot! Seriously, you can burn yourself badly or set fire to
things.

Lights can draw a lot of current so be careful not to overload power sources.

If you're working outside, use an isolating transformer on your power.