LIGHTING HANDBOOK

SECOND EDITION

How to Get The Most

From Your New ARRI Kit

by Bill Holshevnikoff
 Images and Text ©2005
by Bill Holshevnikoff

For more detailed information about the

lighting techniques described in this booklet,
please go to www.poweroflighting.com

ARRI INC.
617 Route 303, Blauvelt, NY 10913
Ph: 845-353-1400 Fx: 845-425-1250

600 North Victory Blvd., Burbank, CA 91502

Ph: 818-841-7070 Fx: 818-848-4028

e-mail: lighting@arri.com
www.arri.com
LIGHTING THEORIES AND TECHNIQUES:
There have been dozens of books throughout the past
decades that have discussed “standard” lighting setups
for interviews, talk shows, dramas and countless other
productions. This handbook is designed to help you
create the best possible images with your new Arri
Lighting Kit and help you to use these tools when lighting
location or studio productions.

CHOOSING A LIGHT SOURCE:

Arri Kits contain a variety of lighting fixtures. The two
basic types of instruments are the open-faced instrument
and the Fresnel-lensed instrument. Both types of light
sources provide a focusable, even beam field of light that
can be used to create a wide variety of light qualities
and moods for your productions.

Arrilite OPEN-FACE

ARRI FRESNEL

ARRI LIGHTING HANDBOOK 

 LIGHT QUALITY can be characterized by how “hard”
or “soft” the shadow produced by an instrument appears.
The quality of light produced by an instrument is deter-
mined by the physical size (not the intensity) of the light
source. In general, the larger, more diffused the light
source, the softer the light quality. Typically, a diffusion
material, such as frost or a silk, might be placed in front
of a lighting instrument to increase the working (physical)
size of a light source. (When light transmits through a
diffusion material, the illuminated diffusion material then
becomes the acting light source.)

ARRILIte WITH FROST

ARRILite with Softbank

A sharp, well-defined shadow edge (hard light), like that

of the sun, is most often produced by a small light source,
such as one of the instruments contained in this kit.
A softer, less-defined shadow edge (soft light) like that of
a cloudy day, is most often produced by a larger, more
diffused light source, such as a Softbank (available with
some Arri Kits).

 ARRI LIGHTING HANDBOOK

 HARD LIGHT SOFT LIGHT

If you do not have a Softbank, there are many other

ways to create softer light qualities with the instruments
contained within this kit. Attaching frost to the barndoors
will soften the light quality slightly. Placing a large
diffusion panel (silk) in front of the source, or bouncing
the light off of a white wall, ceiling or white card, will
produce a dramatically softer light quality.

ARRILite BOUNCING OFF

OF FOAM CORE BOARD

Again, the physical size of the light source is directly

related to the quality of light produced. So, ideally, one
should consider the appropriate light quality for a shot or
scene prior to setting up the lighting. For example, hard
light may not be considered a natural light quality for
many interior scenes (such as an office with four white
walls and overhead fluorescent lighting).

ARRI LIGHTING HANDBOOK 

 HARD LIGHT VS. SOFT LIGHT:
There is no rule as to when to use hard or soft light for
a shot or scene. Creating a particular light quality is a
judgment call, and there are no wrong or right answers.
There are, however, characteristics that are inherent to
both hard and soft light, and one must constantly weigh
the pros and cons of each prior to lighting a scene.

In general, hard light is easily controlled through the use

of the barndoors on the fixture, and it can be used to
produce dramatic shadows and attractive lighting effects
for film or video. When lighting people for interviews
with hard light, one must carefully consider the place-
ment of the light source in order to produce appealing
results on camera. An ill-placed Fresnel or open-faced
instrument can produce unkind results on even the most
photogenic persons.

Fresnel-lensed lights produce an attractive light quality

and an extremely even field of light, and are the most
popular instrument choice when hard lighting is required
for studio and location work.

While Arrilites also produce an even beam field, these

instruments generally are not used to light people
directly. The Arrilite instrument is most often used to
create a fill light source, by bouncing light off of walls,
ceilings or bounce boards (on location); to use with diffu-
sion frost or behind a Softbank; or to light background
areas. When used as a direct source (no diffusion), the
glass lens on a Fresnel produces a more pleasing quality
of light than an open-faced instrument. In addition, open-
faced lights may create multiple shadows as the light
from the reflector is at a slightly different angle than the
direct light from the lamp.

The use of softer light sources can be more forgiving

when lighting people, but softer, diffused sources can be
much more difficult to control. Diffused light disperses in
many directions, and although the light quality may be
desirable for a particular shot or scene, the uncontrolled
spill light from a diffused source can ruin even the best
of shots. Much of lighting has to do with directing the

 ARRI LIGHTING HANDBOOK

viewer’s eye around the screen, and when spill light from
your main light sources contaminates the background of
your shot, the lighting can appear haphazard and lose
visual impact. Once again, careful consideration of your
light placement will dramatically improve the result.

SOFT EGG CRATE ON Softbank

When working with a Softbank, control of the diffused

light can be achieved with a product called a Soft Egg
Crate (manufactured by LightTools). This product is a
collapsible fabric egg crate that can be quickly attached
to the front of a Softbank. The use of an egg crate on
a Softbank provides the user with instant control of spill
light with little light loss.

ARRI LIGHTING HANDBOOK 

 Light Source Intensity: The intensity of the light source
you choose for a shot is an important decision. Brighter
is not necessarily better. Depth-of-Field (f-stop = depth of
focus) and f-stop selection with your camera should be a
conscious decision each time you begin lighting a shot.

Many of the newest video cameras are extremely light

sensitive. Lighting a scene with too much light forces you
to close down the iris to a deeper f-stop (f-8 – f-11) to
properly expose the scene. This creates a very deep focus
range (depth of field) in your shot. Selective focus is not
an option unless you are shooting at the very longest
telephoto lens setting on your digital video camera.

Selective focus is a simple method of focusing the viewer’s

attention on a particular subject or area in the frame.
Using smaller lighting instruments and less light allows you
to expose your scene at an iris setting of perhaps f-2.0
or f-2.8. Shooting with an open iris (aperture) creates a
shallower depth-of-field and allows you to utilize selective
focus as a creative tool in image-making.

Additionally, you can down-lamp your Arri instruments

to use lower wattage bulbs. For example, the Arri 650
Fresnel also can use a 500 or 300W lamp. This provides
you with the wider beam-field of the larger Fresnel while
still working with lower light output. Many videographers
now choose the more compact ARRI D Softbank kits,
which use smaller, lower wattage fixtures. Shooting at
lower light levels with the newer cameras allows the use
of instruments as small as a 150W Arri Fresnel. Used in
conjunction with proper lighting techniques, shooting with
a shallow depth-of-field can enable you to create more of
a film-look when shooting with your video camera.

A Note on Color: The color of the tungsten lighting

fixtures in your Arri Kit is rated at 3,200 degrees on the
Kelvin temperature scale. Although the light from these
instruments may appear as white light on video or film, it
is actually a very warm-colored light relative to the color
of daylight. Choosing a tungsten film stock or setting your
video camera for tungsten (3,200K) will give you proper
color rendering when lighting with these fixtures. Be
careful when white balancing your camera that you are

 ARRI LIGHTING HANDBOOK

balancing your camera for the light in your subject area.
Proper white balance will ensure accurate skin tones in
your video productions.

Sometimes, you may be shooting in an area with existing

ambient light and the color of that ambient light may
differ dramatically from the color of light generated by the
instruments in your Arri Kit. The color of fluorescent light in
office areas, commercial light in retail or industrial settings
and ambient daylight all differ greatly from the color of
light created by your tungsten lights. In these cases, it may
be necessary to color correct your lighting instruments to
match the color of the ambient light in your scene.

Your Arri lights can be color corrected through the use of

color correction gels which can be attached directly to the
barndoors of your instruments. Just be aware of the fact
that using gels on your lights can greatly reduce the output
of light (i.e. full CTB (daylight) correction gel can reduce
output by as much as 85%). Also, gels can burn when set
too close to the lamp or lens on your lights. Careful use of
correction gels can help you to manipulate and match the
color of the existing light in your scene.

There is a great deal of information available on the

subject of color correction gels (see Power of Lighting
videos at the back of this booklet) and you should gain
an understanding of this subject if you wish to better your
lighting practices.

Additionally, you might consider supplementing your

lighting package with additional Arri lighting instruments
designed specifically for production use in daylight
settings. Arri HMI (daylight balanced) instruments are used
daily in motion picture and video production work around
the world. See your local Arri equipment dealer or visit the
Arri website for more information. www.arri.com

ARRI LIGHTING HANDBOOK 

 SOME BASIC DEFINITIONS:

THE FOUR PRIMARY LIGHT SOURCES:

KEY, FILL, SEPARATION & BACKGROUND

IN THIS SECTION, THE “LIGHTING EVOLUTION” OF

IMAGES SHOWS THE SINGLE EFFECT OF EACH OF
THESE FOUR SOURCES IN A TALKING HEAD SHOT.

KEY LIGHT: The key light is the primary light source

for the subject area of the image. The key light is the
main source of illumination and often establishes a light
quality, whether hard or soft, for the shot or scene. When
lighting people for on-camera interviews, the object
of the key light is to illuminate the person in an attrac-
tive manner and reveal the shape of the person’s face
through shadow form (modeling). An Arri Fresnel is often
the choice for a key light source (due to the ease of use
and light control). Softbanks also are a popular key light
source for interviews.

Position of the key light can range from directly above the
camera lens to completely behind the subject, depending
upon the desired results. Seeing the effects of the key
light shadows on the subject’s face will help you to deter-
mine the best height and location for this light. When
lighting for multiple cameras, it is usually best to place
the key lights for optimal results on the close-up camera
positions for each subject. Regardless of the quality of
light you choose, the light from the key source should be
confined to the subject area if you hope to achieve a

key light only

 ARRI LIGHTING HANDBOOK

dramatic lighting effect for the image. If a less dramatic
effect is desired, the spill light from the key source can be
allowed to illuminate the background area as well.

FILL LIGHT: The fill light is an additional light source

designed to fill in the shadow areas created by the key
source. Ideally, the fill light source is a larger, diffused soft
light source that will fill in the shadow area to the desired
density (light level) without producing a second, opposing
shadow on the subject(s). Think of your fill lighting as
ambient light for the shot or scene, and as your visual
mood indicator. The less fill light, the more dramatic the
FILL LIGHT

KEY & FILL LIGHTS

lighting. Regardless of whether your key source is hard

or soft light, using a hard light source for a fill light can
create an unnatural double-shadow effect on the talent/
subjects. Use of a large silk, a Softbank, dense white
diffusion material on the barndoors, or bouncing the light
off of a white surface (wall, bounce board, etc.) can
produce a natural and effective fill light source. When
shooting only a close-up of a single person, often the spill
light from your key source can be directed at a large,
white bounce card for a soft, shadowless fill light (see
examples). The position of the fill light can vary greatly,
but normally fill light sources are set either near the
camera lens or at a position opposite the key light source.

ARRI LIGHTING HANDBOOK 

 SEPARATION LIGHT (HAIR LIGHT): The separation light,
or hair light, is designed to help visually separate the
subject(s) from the background. A separation light is
not always necessary, but without the use of this light,
it is possible that the subject could blend with the
background. Use of a separation light also helps to bring
out color and texture in the subject’s hair. Brightness of
the separation light can equal the brightness of the key
light source, but for interviews, the separation light is
usually less bright than the key. Position of this source
can range from directly behind and above the subject to
just outside of the frame line to create a side rim-light. As
is true with almost all light placements, the effect of the
separation light is dramatically altered by its position.
Experiment with different light qualities and placements to
find your own favorite look.
SEPARATION LIGHT

KEY, FILL & SEParation LIGHTS

BACKGROUND LIGHT: The background light can be the

first or final light to be set for a scene or shot, depending
upon the importance of the background lighting in the
scene and your lighting style. If careful consideration has
been given to the control of spill light in the subject area,
the effect of your background light can be quite dramatic.
The addition of a background light also can help to add
texture, color and/or added separation for the subject(s)
from the background. Direction of the background light
also can help to support key light direction and motiva-
tion (i.e. light from a window, etc.). Both Fresnels and
Arrilites can be used effectively to light background
areas.

10 ARRI LIGHTING HANDBOOK

 KEY, FILL, SEParation &
Background LIGHTS

WINDOW

BACKGROUND 300W FRESNEL

FROST
SEPARATION

300W FRESNEL

FILL

KEY WHITE
BOUNCE
CARD

1K ARRILITE
WITH LIGHTBANK

ARRI LIGHTING HANDBOOK 11

 Artists of all types are constantly working to create a
3-dimensional image on a 2-dimensional plane (motion
picture screen, television screen, paper, etc.). The
following information will help you better identify and
manipulate the separate components of reflected light.

THEORY OF 3-DIMENSIONAL CONTRAST

The Theory States: A single light source directed at a single
object of a single density normally will produce three
separate densities: the diffused value, the specular highlight
and the shadow. The presence of these three densities can
reveal shape, form, texture, density and depth.

DIFFUSED VALUE The true tone or natural brightness of an

object. Accurate reproduction of the diffused value often
determines a proper exposure. The diffused is a constant,
objective value, while the shadow and specular are
variable and subjective.

SPECULAR HIGHLIGHT The mirrored image of a light

source on an object. The specular highlight is always
brighter than the true tone of the object. A properly
placed specular highlight will reveal shape and texture on
an object.

SHADOW The area on a 3-D object that receives no

illumination from the primary light source. The shadow
is always lower in brightness than the true tone of the
object. A properly placed shadow will reveal shape and
form on an object.

SHADOW EDGE TRANSFER The area of transition between

the diffused value and the shadow. It is the primary
indicator to determine the quality of light produced, i.e.
hard or soft light.

SPECULAR EDGE TRANSFER The area of transition

between the diffused value and the specular highlight.
The specular edge transfer usually defines the surface
texture of an object. The smoother the surface, the harder
the edge transfer.

RULE OF THUMB The larger the light source, the softer

the light quality.

12 ARRI LIGHTING HANDBOOK

ELEMENTS OF
3-DIMENSIONAL CONTRAST

SPECULAR SPECULAR
HIGHLIGHT EDGE
TRANSFER
DIFFUSED
VALUE

SHADOW
EDGE
SHADOW TRANSFER

The following pages show images

and diagrams that will provide you
with basic lighting setups that you
can achieve with your ARRI Kit for
a variety of studio and location
productions.

ARRI LIGHTING HANDBOOK 13

 Technical Data
1 - Small Softbank
1 - 1,000 watt Arrilite (inside Softbank)
with double wire scrim
1 - 300 watt Arri Fresnel

WHITE WALL

300W FRESNEL SMALL

LIGHTBANK

1K ARRILITE

14 ARRI LIGHTING HANDBOOK

Technical Data
1 - Small Softbank
1 - 1,000 watt Arrilite* (inside Softbank)
2 - 650 watt Arri Fresnels*
*1/2 CTB correction gel on all sources

WINDOW

650W
650W
1/2 CTB 1/2 CTB

WHITE
1/2 CTB
SMALL BOUNCE
LIGHTBANK CARD

1K ARRILITE

ARRI LIGHTING HANDBOOK 15

 Technical Data
1 - 650 watt Arri Fresnel (bounced off white board)
1 - 300 watt Arri Fresnel
(GAM 1050 frost on front of barn doors)

300W FRESNEL
FROST

WHITE
BOUNCE
CARD

650W FRESNEL

16 ARRI LIGHTING HANDBOOK

Technical Data
1 - Small Softbank
1 - 1,000 watt Arrilite (inside Softbank)
2 - 300 watt Arri Fresnels

PLANT
300W
FRESNEL
300W
FRESNEL

1K ARRILITE

ARRI LIGHTING HANDBOOK 17

 Technical Data
1 - 300 watt Arri Fresnel

WHITE BOARD

300W
BLACK
FRESNEL
CARD/ FLAG

18 ARRI LIGHTING HANDBOOK

Technical Data
1 - Small Softbank
1 - 1,000 watt Arrilite (inside Softbank)
with double wire scrim

STUDIO SET WALL

STUDIO CAMERA

1K ARRILITE

ARRI LIGHTING HANDBOOK 19

 Technical Data
2 - 300 watt Arri Fresnels

300W FRESNEL

WHITE 300W FRESNEL

BOUNCE
CARD

20 ARRI LIGHTING HANDBOOK

Technical Data
1 - Small Softbank
1 - 1,000 watt Arrilite (inside Softbank)
2 - 300 watt Arri Fresnels
(GAM 1075 frost inside barndoors of separation light)

WHITE WALL

300W FRESNEL

1075
FROST
300W FRESNEL

1K ARRILITE

ARRI LIGHTING HANDBOOK 21

 Technical Data
2 - 300 watt Arri Fresnels

300W FRESNEL

300W FRESNEL

22 ARRI LIGHTING HANDBOOK

Technical Data
2 - 300 watt Arri Fresnels
(GAM 1075 frost on bottom half of barndoors on
each key light)
2 - C-stands with grip arms
1 - Small Softbank
1 - 1,000 watt Arrilite (inside Softbank)
with double wire scrim

300W FRESNEL

C-STAND

300W FRESNEL

C-STAND

1K ARRILITE

ARRI LIGHTING HANDBOOK 23

 Technical Data
1- Small Softbank
1 - 1,000 watt Arrilite (inside Softbank)
1 - 300 watt Arri Fresnel (GAM #340 amber gel)
1 - 650 watt Arri Fresnel (GAM #340 amber gel)

PLANT

SHUTTERS

650W
300W FRESNEL
FRESNEL

1K ARRILITE

24 ARRI LIGHTING HANDBOOK

The Power of Lighting DVD or VHS
by Bill Holshevnikoff

Lighting Theories & Techniques

for Film & Video Production
Volume I - “Lighting Faces”: A comprehensive look at the art
of lighting people. You’ll learn how to use hard and soft light, and simple
lighting techniques for lighting different skin tones, people with eye glasses,
and balding heads. Discover which type of lighting instruments will give
you the look you want, how to determine contrast ratios, and much more!
(50 mins)
Volume II - “Lighting Interviews”: This program provides
detailed information for lighting a variety of interviews ranging from single-
camera news and location setups to multi-camera studio programs. Learn
to improve your EFP lighting, understand HMI (daylight balanced) lighting,
and discover how to make your studio interviews look their best, regardless
of the number of on-camera talent. (45 mins)
Vol III - “Color Correction & Filtration”: This
program examines the light and color spectrum as it relates to shooting film
and tape. You’ll see how to use color correction gels and filters to make
your location lighting look its best. Learn to gel windows quickly, color
correct for fluorescent lighting, mercury vapor lights and much more. Also,
discover the art of filtration and see how the use of some basic filters can
change the look of your productions. (55 mins)
Vol IV - “Lighting Backgrounds”: Every shot has a
background, and too often the importance of backgrounds is overlooked.
This program provides detailed lighting diagrams and dozens of images to
demonstrate just how important background lighting can be. See the tools
and techniques used to light both interior and exterior locations and studio
sets. Light control techniques and background treatments are explored in
depth. (45 mins)

IMPROVE THE LOOK OF YOUR

PRODUCTIONS DRAMATICALLY
DVDs or VHS 34.95 ea., or order ALL 4 for $139.00
CA res tax added. Add $4.00 S & H for first video, and $2.00 for
each addt’l tape VISA/MASTERCARD/AMEX ORDER NOW!

1-707-933-0707
1-707-933-0770 Fax
www.poweroflighting.com
© 2 0 0 5 B i l l H o l s h ev n i ko f f