CHAPTER 1 About this Book The fundamental knowledge presented herein is designed to assist you in taking your first steps towards building your competence and confidence lighting scenes for a wide range of creative contexts. This book explores primary concepts involved with lighting for video, photography and other applications, using continuous light sources such as tungsten and natural sun light. It is not an encyclopaedic volume encompassing all lighting techniques or knowledge, but is intended as a way to help you get started with lighting for the very first time. We hope that you find it useful! Never Stand Sit Meee Oe ae ee enn) ere fe Mirena Cia COFA. online Pee edSECTION 1 Equipment Overview GALLERY 2.1 Common Lighting Equipment Redhead - 800 Watt variable beam floodlight, # (orange colour temperature) Ce abaaiLay 00 K Redhead Sireorenedthiovtio tom oan ly eee To Power Typically 800 W, Light Source Tungsten Colour Temperatare 4200 K (orange temperature) yment from the COPA Resouree Centre Acommon, open face floodlight of medium power. An open face light such as this has less directional control, but a Redhead has four barn doors for focusing the light beam, A specially designed softbox can also be attached to diffuse or soften the light. Interestingly, the term Redhead is not a brand name, but a common term for this type of light due tothe faet that the light housing itselfis often coloured red. Redheads can get hot during operation, so itisimportant that sloves be worn at all times when handling the light. The light filament itself can also be fragile when hot, so ideally, the light, should not be moved until it cools down after operation. ‘Typical Uses Redheads are useful as key or background lights. Deen Power Typleally 2000 Watts Light Sourve Tungsten Colour Temperature 3200 K (orange temperature) ‘The Blonce is a floodlight of high power output, which can provide a large amount of light. Similar to the Redhead, it has four bam doors to control light spill, and a specially designed softbox can be used to diffuse the light: Again, the term Blonde is not a brand name, but refers to the fact the original light housings were coloured yellow. Due to the high power output, Blondes become very hot uring operation. Therefore the same care should be taken ‘when handling them as with the Redhead light. ‘Typical Uses Blondes are useful as key or back lights in large scenes. Their heat output makes them less suitable for smaller seenes. Dedolight hae ended in tom vite ly Potente Power 350 Watts (other ratings are available) Light Source Tungsten Colour Temperature 200 K (orange temperature) Click to book this equipment from the COFA Resource CentreDedolights are small, relatively powerful for their size and easy to transport. They can be used as a small floodlight, and also as a spotlight. While it does have barn doors for rudimentary light control, the light also hasa focusable beam for more precise control. Dedolight is abrand name, which has a reputation for high quality. There are many accessories and attachments available for these lights, making them quite versatile in a number of different situations. ‘Typical Uses Dedolights are useful as fill lights because they can be precisely focused. However they can also perform the role of any light in a three point set up fora smaller scene. Fluorescent iS Sharer erie ht ideo rom Yue | ly Power other matings are available) Light Source Fluorescent Colour Temperature 3200 K (orange) / 5600 K @aylight) Click to book this equipment from the COEA Resource Cet Fluorescent lights have improved dramatically in recent years, and are increasing in popularity. They typically east a softer light than tungsten lamps. ‘There are a range of different power ratings and colour temperature bulbs available, typically in the 3200 K (orange) and 5600K (daylight) range,making them quite versatile in a variety of shooting scenarios. ‘Many fluorescent lights use multiple bulbsto achieve a brighter light. Fluorescent lights run very cool, meaning they are more comfortable and safer to work with. ‘Typical Uses ‘These lights can be used as fill lights, More powerful, multiple bulb lights can also be useful as key lights, Sue or ed tse ron fesse (i Click to book this equipment from the COFA Resource Centre A softbox is an enclosure that is attached to a light, with reflective interior surfaces and a translucent material thet is positioned in front ofthe light. A softbox diffuses or softens the light that is emitted, making it less harsh on the subject resulting in more visible detail and softer shadow: Itis important to use a softbox specifically designed for the light souree you are using, For example, tungsten lights emit a great deal of heat, and so the softhox must be designed to cope with this, Using a softhox designed for fluorescent lighting on tungsten light could bea fire hazard, ‘Typical Uses Asoftbox ean be used on fill lights with particularly good effect as more detail can be seen on the subject with a softer light. However, use of softboxes is not limited to the fill light, as any light in the scene ean be softened using this piece of ‘equipment if desired.Disc Reflector Stars ened he rote Youtube lh Click to book this equipment from the COPA Resouree Centre A dise reflectors useful piece of equipment that enables you to manually bounce light from a light souree back onto the subject or background. They utilise a variety of materials to ive different effects with the reflected light. For example gold ives a warmth to the reflected light, silver results in a more contrasting light, white reflect the light with little change. ‘Typical Uses Dise reflectors can often eliminate the need for an additional light in the studio, or ean be used as a fill light in outdoor shoots where there is no possibility of using studio lights,Cuapter 3 Three Point Lighting To light an indoor scene effectively, you will need several kinds of lights, each with its own specific purpose. The most common lighting set up is roferred to as three point lighting, which as the name suggests, uses three separate light sources. This chapter outlines how to create a basic three point lighting setup, and describes the type of equipment you'll need to work with.CHAPTER 3 Video Overview tup of the three point lighting starting point for any indoor Carrer 3 Key Concepts .Back Light 4. Background Light < @ > INTERACTIVE 3.1 Seene lt with three point lighting set upEffects of Lights on a Scene ‘The follow 1 interactive will enable you to understand the effect that each light has within a typical three point lit scene (interactive 3.2). Of eourse the effect will vary depending upon the type of lights chosen for each function, and the exact placement ofthe lights in relation to the subject. s + * INTERACTIVE 3.2 Bifects of different lights on a scene Cycle throu lights in the he effects that the combination of different three point set up have upon a subject. ‘The following describes the main types of lights youll need to establish a basic three point lighting set up. The Key Light The key light highlights subject. Its usually the primary light in the three point set up, and all other lights used are usually used to complement and balance its effects. The key light is often placed at a 3 60° angle to the subject (the position of the camera marking °), Key lights can have a different visual effect depending on whether they are hard (focused) or soft (diffused). the form and dimension of the to Recommended Lights A bright light is usually used for the key light. Typical examples of lights that are commonly used are Blondes or Redheads. They are larger lights with shutters that allow you to easily change the focus of the light, The Fill Light The fill light decreases contrast and reveals mor: dark areas of the cetail in the ubject. It is usually diffused, and is placed on the opposite side of the subject to the key light, in order to reduce the severity the shadows it creates. A less intense light than the key light is usually used to enable more control overthe depth and subtlety of shadow on the subject. The key light is often used to simulate the level of ambient light in a scene. Recommended Lights A Fluorescent light with a Softbox are a good choice for the fil light, as they are typically softer and more diffused. An alternative to the fill light is to reflect or bounce the key light towards the subject by using a dise reflector. The Back Light ‘The intent of a back light is to highlight the edge of the subject to provide a sense of separation between it and the background. The light used is typically less intense than the kkey light. The back light is positioned behind and to the side ofthe subject, with the light focused on its edge. Recommended Lights Acommon light that can be used fora back light is the Dedolight, asitis able to be focused precisely to direct the light onto the edge of the subject. The Background Light (optional) Although not usually considered a part of a three point lighting set up, a background light is a useful complement to a basic lighting set up. The background light is used to illuminate the background area of a set or scene. It will also ‘inerease the level of visual separation between the subject and the background. This light is placed behind the subject and pointed at the background, and should be positioned after all, other lights have been set up, Recommended Lights Depending upon how far away the background is from the subject, and the level of illumination required, you may choose less intense, diffused lights such as Fluorescents in conjunetion with a Softbox, or you may choose to use a larger, brighter light such as a Blonde or Redhead.CHAPTER 4 Colour Temperature Colour temperature relates to the colour of the light produced from different light sources, bath natural and artificial. The colour temperature of the lights that you use, and any natural light already present in a scene can have a dramatic effect upon its visual tone. Understanding colour temperature is crucial in helping you to correctly balance different light sources in your scene, and to create different moods or visual effects.CHAPTER 4 Video Overview 2 MOVIE 4.1 Understanding colour temperature ‘This video explains the concept of colour temperature in, relation toa number of different light sources. It also describes how to balance temperatures in ascene and suggests creative use of colour temperature to establish, different moods or effects, Sees eee rss db CHAPTER 4 Key Concepts Understanding Colour Temperature Colour temperature is measured in degrees Kelvin (K), Daylight, the term used to describe the average amount of light emitted by the mid day sun, is 5600 K, which appear as a bluish, or coo! eolour, Tungsten light, the umbrella term referring to most lights used in interior shooting, is around 3200 K, an orange light which isa warm colour but a low colour temperature (Interactive 4.1). Blue colour temperatures are in fact warmer in degrees Kelvin than orange colour temperatures. It’s easier to think of colour temperatures like fire - a blue flame is hotter than an orange one, Considering the correct colour temperature of your lights is important in achieving a suitable look for your scene, Selecting a light with an unsuitable temperature, or changing your camera's light settings to a colour temperature different to the one that the light you are using emits, could make the subject of your scene appear to be tinted with an undesirable hue,‘Therefore if you want your seene to have a warm feeling, you should consider using lights with a lower colour temperature, and if you need a cooler, more harsh effect, lights with a higher colour temperature are suitable. 1850 K Lertegetin, aie INTERACTIVE 4.1 Colour temperature chart This interactive illustrates the colour temperatures of several different types of lights, and the effect that different colour temperatures can have upon the appearance of a seene. Correcting Colour Temperature As different sources emit light at certain colour temperatures, it is always a good idea to read any documentation available about the type of lights you are using, so that you understand the temperature of light they are emitting. Use the White Balance Setting on Your Camera Equally as important as knowing the temperature produced by different lights, is to understand the colour temperature, oF white balance settings on the camera you are using. Choosing the wrong white balance setting on your camera for the type of light being used can result in an undesirable effect where the scene is tinted towards low or high colour temperatures. Most ‘cameras allow you to manually tell the camera what light source is being used so that it may adjust the colours in the picture accordingly, to produce a correctly colour balanced image - ie so whites look white. Please refer to the instruction manual of the camera that you will be using to shoot your scene for instructions about how to adjust the light setting. Using Colour Gels to Balance Light Sources Sometimes you may have a mix of light sourees in one scene, such as daylight and several types of different artificial light sources. The different colour temperatures in one scene can have an unnatural visual effect upon the subject. To correct this you can use colour gels or filters, which are simply pieces oftransparent material that are tinted different colours, The gel is placed over a light source to change its colourtemperature, For example, if you wanted to match the colour temperature of tungsten lights (orange, 3200K) with daylight (bine, 560K), you could place blue gels over the tungsten lights, which changes the temperature of the light emitted into the blue range, more closely matching the sunlight. Changing your camera light setting to daylight or 5600K, would then ‘enable the camera to adjust the blue temperatures in the scene to white when the image is recorded (Gallery 4.1, GALLERY 4.1 Adjusting the colour temperature of a scene ‘This scene contains a mix of tungsten (orange temperature) and daylight (blue temperature) light sources, Creating Different Effects As well as adjusting the colour temperature within a scene to appear more natural (how we see things in daylight), you can also use different colour temperatures to radically alter the light in a scene to produce a variety moods and effects. The gallery below shows several examples of effects you can achieve using simple colour gels (Gallery 4.2) GALLERY 4.2 Using temperature to alter a scene Raising the colour temperature ofa scene to the blue range can result in a harsh, cold feeling.CHAPTER 5 Lighting Outdoors Lighting for an outdoor scene can be very different to lighting indoors. Often, you will not be able to access a power socket and therefore won't be able to use lights. The presence of the sun and the level of cloud cover can also affect the look of an outdoor scene. This chapter outlines several important lighting considerations for shooting outdoors on a sunny day.CHAPTER 5 Video Overview MOVIE 5.1 Lighting outdoors ‘This video ontlines several important considerations for achieving the best ssults when shooting outdoors. facet invertase ly CHAPTER 5 Key Concepts Make the Most of Natural Light Shooting a scene in daylight ean create vibrant looking results, but can also present unique challenges compared toa controlled studio environment, You can't control the weather orthe intensity of the sun, and shooting at different times of day can result in changing shadow levels, and variations in the colour temperature of the light Perhaps the most inconvenient aspect of lighting a scene ‘outdoors isthe fact that you may not have access to electrical power, witich will restrict the amount of lighting equipment you are able to use. Some lights, such as Dedolights, have the ability to run from battery power, but such options might not always be available In order to get the best results, itis best to develop an understanding of simple techniques that enable you to make the most of the available natural light.Outdoor Lighting Techniques ‘There are several simple but important things to remomber ‘when lighting an outdoor scene to maximise the chances of achieving a good result. Consider the Position of the Sun Ifit is a bright sunny day (a colour temperature of around 5600 K), think carefully about how you position your subject in relation to the sun. If your subject is a person, and you place them so they are looking directly into the light, they will often find it uncomfortable. Depending upon the time of day and the intensity of the light, people will ind it difficult not to squint, which results in a less than ideal image. The image could also appear to lack depth, as a bright light directly in front of the subject will result in fewer shadows being cast that can help define the form. u ata 30” to 60° angle relative to the camera position. By placing the subject so that the sun is off to one side, your subject will feel n cope with the int can be very bright, this position may result in dark shadows being cast of the sun asa key light. Usually you would place these sre comfortable and won't have to squint to ty of the Light. However, because the sua ing Reflectors to Control Natural Light ‘To compensate for dark shadows east by the sun, or increase the amount of light available, you can use reflectors (such asa disc reflector) to bounce sunlight onto your subject. Reflectors can take the place of any light in a typical set up (Gallery 5-1), and you can use different coloured reflectors to change the way that the reflected light interacts with the subject. You can also consider using the sun as a back light, to highlight the edges and help to visually separate the subject from the background, With the sun behind the subject GALLERY 5.1 Using a reflectorin an outdoor scene Looking directly into the sun can cause your subject to squint and feel uncomfortable. Banoohowever, the front will be in dark shadow. You can resolve this by using one or two reflectors like you would a key anda {ill light, to bounce light onto the front of the subject - thus giving you a three point set up comprised of natural light Gallery 5.2). Consider Shooting in Shade, or on an Overeast Day Ifyou are finding that direct sunlight is too intense to enable GALLERY 5.2 Using the sun asa back light outdoors, You can use the sun as a hack light to help to visually separate the subject from the background outdoors. you to light your scene effectively, you could try placing the subject in an area of shade. If positioned carefully, you can still use reflectors to provide additional light for the shaded subject, Altematively, if you have a choice, you could try shooting on an overcast day. In this situation, the light is more diffused. resulting in much softer shadows being cast. However this, also comes with the possibility thet the light may not be sufficient enough to show colours at their most vibrant. Any tight from reflectors will also be much more diffused and subtle. The colour temperature of the light on an overcast day ‘may also increase, resulting in a cooler hue (around 6500 K). Setting Your Camera’s White Balance As previously discussed, it is important to make sure that your camera's white balance setting is correct for an outdoor shoot. ‘The colour temperature of sunlight changes through the day, particularly around dawn or dusk. However at most times of day you can usually set your camera's white balance to daylight, oF 5600 K. In low light conditions, or around sunrise or sunset (1850 K), You may need to change your white balance setting accordingly to get the best results. Ensure your camera is set correctly before attempting to light an outdoor scene, so that you can be sure that the image you actually record will be as faithful to the original possible.