A Basic Lighting Setup
    An effective lighting setup for a simple subject can be done with three lights: the key, fill and backlight. Each light has a particular function. In a complex lighting design, many units may be used to provide the same three-point lighting over a broader area.

    Key Light
    The key is the brightest light and casts the primary shadows, giving a sense of directionality to the lighting. Traditionally, hard lighting units like a spotlight (in either spot or flood position) are used for the key. The light is frequently softened, however, with diffusion material. The shadows cast by the key provide modeling of the face. The light is usually placed somewhat off the camera-to-subject axis, high enough up so that the shadow of the subject’s nose does not fall across the cheek but downward instead. This height helps ensure that body shadows will fall on the floor and not on nearby walls where they may be distracting.

    Fill Light
    The main function of the fill light is to fill in the shadows produced by the key without casting distinct shadows of its own. Fill lighting is almost always softer than the key; it is usually achieved with a soft light fixture or a bounced spotlight. If the fill light is placed near to and at the same level as the camera, its shadows will not be visible on film. The fill is normally not placed on the same side of the camera as the key. Sometimes light is bounced off the wall or ceiling to provide flat, even fill over a broad area.

    Backlight
    Backlights, sometimes called hair, rim or edge lights, are placed on the opposite side of the subject from the camera, high enough to be out of view. Backlight should be fairly specular, or hard, to produce highlights on the subject’s hair. If a backlight is at about the same level as the subject and somewhat off to the side, it is called a kicker. Kickers illuminate the shoulders more than hair lights do. All backlights function to outline the subject brightly, defining the subject’s shape while separating it visually from the background. The contemporary lighting style for color film calls for subtle, not pronounced backlight in most situations.

    Set Light
    A fourth basic light, the set light, may be used to illuminate the background. Usually the background is partly lit by the key and fills lights, as well as by several set lights.

    Lighting Faces
    In medium and close shots that include people, the lighting on faces is extremely important. Although facial lighting depends on the overall lighting of the location or the set, the general lighting scheme is often designed around providing proper light on faces.

    Start by positioning the key light alone, paying close attention to the shadows of the nose and eye sockets on the face. In television and documentary interviews, it is common practice to eliminate these shadows almost entirely. To achieve this, the key is placed frontally, that is, near the camera and on the side to which the subject is looking. If the key is moved farther off to the side, especially if the side is opposite the one to which the subject is looking, the shadows from the nose and the side of the face provide more interesting modeling. A rule of thumb is to position the key so that the nose shadow falls along the line from the side of the nose to the corner of the mouth. Normally, the key should be placed frontally and low enough so that this shadow does not extend all the way down to the mouth. More dramatic effects can be achieved by moving the key even farther to the side. If the subject is positioned so that he is not looking toward the camera and the key light is placed on the far side of his face, the subject will be rim-lit with strong shadows falling across his face. This kind of look is well suited to nighttime scenes where only one or two light sources are visible in the scene.

    Facial shadows can be made less harsh and distinct by using a soft light or a bounced spotlight or floodlight as the key. Many people like the gentle look this gives. When Hollywood cinematographers use soft frontal keys for lighting women, nets are often used to shade the forehead and mouth subtly, giving some sense of dimensionality. Diffused lights do not “throw” as far as specular ones and need to be placed closer to the subject to produce sufficient illumination.

    After the key has been placed, the fill light should be added. Put this light close enough to the camera so that it does not create a second set of distinct shadows. You must pay attention to the intensity of the fill relative to the key, for this will determine lighting contrast.

    Backlights should be placed high enough to avoid flare and angled down so that they do not stride the tip of the subject’s nose. If it casts a visible shadow forward in front of the subject, flag the light with the barn doors or a gobo. Since backlighting can easily have a theatrical, artificial look in some scenes, it should be used sparingly.

    Feature film markers often use a low-powered eye light to produce a lively reflection in the subject’s eye, making the subject appear alert or alluring. An eye light should be flagged off with a snoot or a net to prevent it from covering the face with flat fill. Sometimes a clothe light is used to bring out particularly dark or absorptive clothing. Like the eye light, this should be selectively and not broadly aimed.

    Lighting of faces can be individually tailored. Large facial features can be played down with more frontal lighting or by turning the face toward or away from the camera. Specular light will accentuate skin defects and makeup more than soft light. In fiction filming, makeup is usually applied to all actors. A light brushing of translucent face powder, which is itself invisible, cuts down glare from the skin and should be reapplied regularly. Waterproof mascara is often used for the eyes of both actors and actresses so that facial expressions will read better on film.