Lighting
Forty-one lighting setups, and the wording that gets each one.
Lighting is the difference between a frame that looks shot and a frame that looks generated. Name the source, say which side it comes from and how hard it is, and a model builds the scene around it.
The standard setup
9The lights a crew puts up first, and what each one is for. Name them separately and you can build any of the looks further down.
Key Light
One main light does most of the work and sets the shape.
Fill Light
A soft second light lifts the shadow side without killing it.
Backlight
The light sits behind the subject and draws an edge around them.
Three-Point Lighting
A key, a fill and a back light shape the subject in the standard way.
Rim Light
Light from directly behind draws a thin bright outline.
Kicker
A light from behind and to the side draws an edge on the far cheek.
Hair Light
A light from above and behind separates the hair from the background.
Eye Light
A small source puts a catchlight in the eyes.
Bounce Light
Light is thrown at a surface and reaches the subject soft and indirect.
Light on a face
11Portrait patterns, each named for the shadow it leaves. Every one of them is the same light in a different place.
Rembrandt Lighting
A small triangle of light sits on the cheek away from the key.
Butterfly Lighting
The light sits high and in front, leaving a small shadow under the nose.
Loop Lighting
The key sits slightly off axis and makes a small loop of shadow beside the nose.
Split Lighting
One half of the face is lit and the other is fully dark.
Broad Lighting
The key falls on the side of the face turned toward the camera.
Short Lighting
The key falls on the side of the face turned away from the camera.
Side Lighting
The light comes from directly beside, so half the face is lit.
Top Light
The light comes from straight above and the eyes fall into shadow.
Underlighting
The light comes from below and the shadows fall upward.
Glam
Soft even light flatters the face and hides texture.
Epiphany
Light arrives on the face at the moment something is understood.
How much light, and how hard
9How much of the frame is lit, and how sharp the shadow edges are. This is the mood decision.
High-Key Lighting
The whole frame is bright and the shadows are nearly gone.
Low-Key Lighting
Most of the frame is dark and only a little is lit.
Chiaroscuro
Strong light meets deep dark with very little in between.
Cameo Lighting
A lit subject stands out against a background that is fully dark.
Silhouette
The subject reads as a black shape against a bright background.
Spotlight
A tight beam lights one small area and the rest falls away.
Hard Light
A small source cuts sharp shadow edges.
Soft Light
A large source wraps around the subject and the shadow edges go gentle.
Cross Lighting
Two sources hit from opposite sides and leave a dark line down the middle.
Where the light comes from
12Light with a source the audience can see or guess. Name the source and the model lights the scene to match it.
Motivated Lighting
Every light appears to come from something visible in the scene.
Practical Lighting
Lamps that appear in the shot do the lighting.
Available Light
Only the light already in the place is used.
Naturalistic Ambient
A soft general light fills the space with no obvious source.
Window Light
A window is the source, so the light is soft, directional and falls off fast.
Candlelight
Small warm flames light the scene from close range and flicker.
Neon Practicals
Neon signs in the scene light the subject in saturated colour.
Gobo Lighting
A cut pattern in front of the light throws a shape onto the scene.
Dappled Light
Light passes through something broken and lands in patches.
Volumetric Light
Light beams become visible as solid shafts in the air.
Golden Hour
Low sun near sunrise or sunset lights everything warm and sideways.
Blue Hour
The short window after sunset when the sky is deep blue and still bright.
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