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Light: Hard and Soft light : Basic Set-ups
Light 'Em Up: Basic Lights
Light. What is it? Nobody knows for sure. It's a mystery that has plagued our world for ages. What we do know however, is that we can do really cool things with it, like make our videos look a lot better. You can also make it look a lot worse if you do it wrong, so try not to do that, okay? Let's break down some commonly used types of lighting that are available, and how you can use them to your advantage.
Tungsten (Incandescent)
Power: Up to about 20K Watts
Color Temp: Around 3200K. The color balance of tungsten lights are orange/yellow. Check out this lesson if you need a refresher on color temperature.
Best Use: These are ideal for indoor locations where ordinary household lights can be seen. (You will need a blue gel over a tungsten light to simulate daylight.)
Power: Up to about 20K Watts
Color Temp: Around 3200K. The color balance of tungsten lights are orange/yellow. Check out this lesson if you need a refresher on color temperature.
Best Use: These are ideal for indoor locations where ordinary household lights can be seen. (You will need a blue gel over a tungsten light to simulate daylight.)
Tungsten lights are simply larger versions of the everyday lighting found in your home, using a filament of tungsten wire. They come in a wide variety of shapes and sizes which make them handy as they’re often more portable than other types. Also, dimmers work great with these things! Fun fact: These lights originated in Tungsteny, Italy which is a place I just made up.
HMI (Hydrargyrum Medium-arc Iodide)
Power: They can produce 3x the amount of a tungsten halogen light and consume up to 75% less energy for the same output. Wowza!
Color Temp: Around 5600K. The colour balance of HMIs are blue-ish and are a bit closer to daylight than tungsten.
Best Use: Ideal for imitating daylight. Daylight would call HMIs a total copycat - HMIs prefer to think they're an homage to daylight. Who ever's side you're on, HMIs are great in situations when you need more light output for the power you have available. Plus, they are much safer than other lights because they keep a lot cooler.
Power: They can produce 3x the amount of a tungsten halogen light and consume up to 75% less energy for the same output. Wowza!
Color Temp: Around 5600K. The colour balance of HMIs are blue-ish and are a bit closer to daylight than tungsten.
Best Use: Ideal for imitating daylight. Daylight would call HMIs a total copycat - HMIs prefer to think they're an homage to daylight. Who ever's side you're on, HMIs are great in situations when you need more light output for the power you have available. Plus, they are much safer than other lights because they keep a lot cooler.
Simply put, these lights are super efficient. The disadvantage of HMIs is that they're more expensive due to the technology needed to make these work. Although they are worth mentioning, they are likely to be out of the question for low budget filmmakers.
Fluorescents
Power: They can produce 3x the amount of a light of a tungsten halogen and consume up to 75% less energy for the same output. That's what's up!
Color Temp: Can be completely colour corrected in post production to match either daylight or tungsten.
Best Use: They produce a soft even light which can be handy in situations where you don’t have enough room to bounce or diffuse other types of lights. On top of that, these run even cooler than HMIs or Tungsten lights.
Power: They can produce 3x the amount of a light of a tungsten halogen and consume up to 75% less energy for the same output. That's what's up!
Color Temp: Can be completely colour corrected in post production to match either daylight or tungsten.
Best Use: They produce a soft even light which can be handy in situations where you don’t have enough room to bounce or diffuse other types of lights. On top of that, these run even cooler than HMIs or Tungsten lights.
Colour-corrected fluorescent tubes are becoming widely used as a lighting method because of their portability and compact nature. Fluorescent lights naturally flicker but ones made for video production blink at such a high frequency that it won’t show up in standard frame rates. So don't worry, unless you're shooting 1,000 fps it won't be an issue. Plus, depending on where you live, that may be breaking local frames per second laws. You think you can film that fast and get away with it? Think again.
Specialty Lights
Fresnels
A fresnel is a type of lens placed in front of lamps such as tungsten sources in order to focus the light given off into a controllable beam. That's right - making the light work for you. This is very useful in creating a spotlight effect, as well as being able to cover a relatively small portion of a scene. A fresnel light is simply a light in any category which utilises the fresnel lens in front of the bulb, but most frequently it's a tungsten light. Tungsten lights and Fresnels are like BFFs or whatever.
A fresnel is a type of lens placed in front of lamps such as tungsten sources in order to focus the light given off into a controllable beam. That's right - making the light work for you. This is very useful in creating a spotlight effect, as well as being able to cover a relatively small portion of a scene. A fresnel light is simply a light in any category which utilises the fresnel lens in front of the bulb, but most frequently it's a tungsten light. Tungsten lights and Fresnels are like BFFs or whatever.
Practicals
Practical lighting refers to any light source that is part of the scene itself and does not need to be hidden from the camera. They often provide motivation for larger (hidden from screen) film lights used in a scene, providing a logical reason why, say, the side of a character’s face is lit up. These can be anything from a household lamp to a flashlight, candle or lightsaber. Often, household bulbs are replaced with more powerful ones to add more light into a scene without being too noticeable.
Practical lighting refers to any light source that is part of the scene itself and does not need to be hidden from the camera. They often provide motivation for larger (hidden from screen) film lights used in a scene, providing a logical reason why, say, the side of a character’s face is lit up. These can be anything from a household lamp to a flashlight, candle or lightsaber. Often, household bulbs are replaced with more powerful ones to add more light into a scene without being too noticeable.
There are many lighting tools available. Which ones you'll buy or rent will depend on your needs. When deciding on a light, take into consideration cost, colour temperature, portability, and power consumption.
PPro tip:If you’re trying to get a basic kit, you’ll want to assemble a set that has at least three lights. That being said, you don't need three lights to get started. You can create a chill setup with a single light source and a bounce!
A Great Lighting Tip
Paper Lantern Lighting
Good lighting doesn't have to cost a lot of money or be overly complicated. You can use inexpensive items just laying around the house to improve how your scene and subjects are lit. Anything from a floor-lamp, a reading light, or a paper lantern.
A key element of good lighting is soft light. Too strong or too harsh lighting creates shine and harsh shadows that generally don't flatter most settings. It's great to have a nice strong light source but you need to temper those photons with something to soften up their punch. Luckily there are common everyday objects that provide excellent soft lighting like a paper lantern, sometimes known as a China lantern. As you may have guessed, paper lanterns are made of paper, held together by a metal wire structure, with a light bulb hanging in the middle. You can find paper lanterns for cheap at many retail outlets, attics, and college dorm rooms near you.
Behold, a plethora of paper lanterns! For most shooting situations just one will do just fine. (Image Courtesy of Shutterstock)
The magic behind the paper lantern is how it diffuses and creates a soft light for your subject. A paper lantern can also act as a great fill light in your three-point lighting setup or if properly positioned can act as your sole light source. For a detailed explanation check out this video byFramelines TV explaining how to mount and use one-
An important consideration to keep in mind is bulb wattage, be careful not to exceed about 200 watts (or the manufacturer's suggested limit) with a standard incandescent bulb or it's compact fluorescent or LED equivalent. Most importantly make sure the bulb is in no way touching any of the paper as that it may begin to combust.
Take the time to try different lantern positions by both increasing and decreasing the distance from your subject. It might take a bit of playing around to get just the right amount of light from the right angle, but it'll be worth it for the higher quality image you'll be capturing. Most importantly experiment. You never know what you might capture with a little time and curiosity.
Lighting For Film & Television: The basics to consider.
Light Sources :
Whether it be natural light (from the sun) or artificial lights you need to consider the implications for the look, feel and tone of your production. The aim of lighting design is to choose the best source(s) to achieve your goals. 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.
Colour temperatures:
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. HD does not cope with extreme contrast quite 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..
Direction of the light:
When shooting a subject think about what the light source is reflecting off. For example, may of you initially framed shots with a window in the background. The natural light from the sun shining through the window created silhouetted out figures. This may be fine in certain circumstances, but in most cases, the assumption is that you will want your character/subjects well lit. There fore, you should check the position of the sun and aim to have the sun behind the camera and not the subject. Position yourself in relation to the light source to achieve the effect that you desire.
Check out this cheeky chappy who explains it pretty effectively
Discuss these lighting basics with your group and reflect on these discussions to achieve a fit- for- purpose lighting plan.
Light Sources :
Whether it be natural light (from the sun) or artificial lights you need to consider the implications for the look, feel and tone of your production. The aim of lighting design is to choose the best source(s) to achieve your goals. 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.
Colour temperatures:
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. HD does not cope with extreme contrast quite 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..
Direction of the light:
When shooting a subject think about what the light source is reflecting off. For example, may of you initially framed shots with a window in the background. The natural light from the sun shining through the window created silhouetted out figures. This may be fine in certain circumstances, but in most cases, the assumption is that you will want your character/subjects well lit. There fore, you should check the position of the sun and aim to have the sun behind the camera and not the subject. Position yourself in relation to the light source to achieve the effect that you desire.
Check out this cheeky chappy who explains it pretty effectively
Discuss these lighting basics with your group and reflect on these discussions to achieve a fit- for- purpose lighting plan.
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