Through spots or soft lights can be used to
create theatrical or natural lighting styles, they're often most effective when
employed together.
Whether you are lighting a video with ten
kilobucks worth of hi-tech hardware or making do with available light, you have
two basic ways to go with each light source: hard or soft - either a
high-powered beam with clean edges or else a softer glow that falls off
gradually. Our THE-ONE professional stage lighting , can provide both spot and
soft light for you accordingly to different requirement.
Here let me tell you when and why to use
each type of them.
The cliche has it that you use soft-edge
lighting for a realistic and natural effect, and that's partly true: softer,
more general light can resemble a fluorescent office ceiling or a large
off-camera window. But if you study a talking head on any of a zillion TV
interviews, you'll realize that the soft, glowing light on the subject doesn't
look like a ceiling or a window. It looks like video lighting.
The most realistic lighting is often a
cunning combination of small, hard spots and big, soft floods.
If you key with a spotlight and fill with a
soft light, your subject will throw only one shadow on the background, which
looks very natural. I like to soften the key a tad with clipped-on spun glass
diffusion material. To keep the fill from looking too interviewee, try placing
the large source well around to the side, to avoid a wraparound effect and
create the impression of ambient room light.
When you want a little more pizzaz, try
using soft lights for both key and fill, moving the fill unit back until the
subject's face is detectably (but not excessively) brighter on the key side. A
small spot placed high and behind the subject can provide hair and shoulder rim
light for separation from the background.
Here are two quick tips to finish up.
First, try using a dimmer to control the back light's intensity. The slight
warming of the dimmed light can create a nice effect. Second, use a very
lightweight spot mounted on a horizontal arm supported by a stand off to one
side. That way, you can place the backlight behind the subject without getting
its stand in the frame. Good shooting!
THE-ONE www.theonelights.com , welcome your
inquiry, Cheers!
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