The document provides a comprehensive overview of lighting techniques used in cinematography, focusing primarily on 3-point lighting, which involves key, fill, and back lights. It discusses the types of lighting instruments used, including tungsten, HMI, fluorescent, and LED lights, along with their characteristics and applications. Additionally, it covers important aspects of light such as coherence, color temperature, and intensity, as well as methods for controlling and manipulating light in film production.

1. LLiigghhttiinngg OOvveerrvviieeww
Lecture Created 9/8/10
Updated 10/13/14
by John M. Grace,
film worker and instructor
D.A.T.A. Charter High School
Albuquerque, NM
© 2010, John M. Grace
Free to use in the classroom
under a Creative Commons
attribution license

2. 33--PPooiinntt LLiigghhttiinngg
3-Point lighting is the lighting technique used
by cinematographers on most professional
productions. It is easy to understand but it
takes a lifetime to master.
In addition to 3-Point
lighting, there are also 5-
Point and 7-Point lighting
scenarios which we will
also discuss and analyze.

3. 33--PPooiinntt LLiigghhttiinngg
Just as it sounds, 3-Point lighting refers to
lighting the subject from three angles. The
lighting positions are referred to as the Key
Light, the Fill Light and the Back Light .

4. 33--PPooiinntt LLiigghhttiinngg
Just as it sounds, 3-Point lighting refers to
lighting the subject from three angles. The
lighting positions are referred to as the Key
Light, the Fill Light and the Back Light .
Camera

5. 33--PPooiinntt LLiigghhttiinngg
Just as it sounds, 3-Point lighting refers to
lighting the subject from three angles. The
lighting positions are referred to as the Key
Light, the Fill Light and the Back Light .
Camera
600w Key Light

6. 33--PPooiinntt LLiigghhttiinngg
Just as it sounds, 3-Point lighting refers to
lighting the subject from three angles. The
lighting positions are referred to as the Key
Light, the Fill Light and the Back Light .
Camera
600w Key Light 300w Fill Light

7. 33--PPooiinntt LLiigghhttiinngg
Just as it sounds, 3-Point lighting refers to
lighting the subject from three angles. The
lighting positions are referred to as the Key
Light, the Fill Light and the Back Light .
Camera
150w Back Light
600w Key Light 300w Fill Light

8. 33--PPooiinntt LLiigghhttiinngg
The Key and Fill lights are roughly 45o from the
camera axis. Like all rules, this rule is made to
be broken as you will see in the upcoming
lighting scenarios.
Camera
150w Back Light
45o
600w Key Light 300w Fill Light

9. 33--PPooiinntt LLiigghhttiinngg
The Key and Fill lights are roughly 45o from the
camera axis. Like all rules, this rule is made to
be broken as you will see in the upcoming
lighting scenarios.
45o 45o
Camera
150w Back Light
600w Key Light 300w Fill Light

10. 33--PPooiinntt LLiigghhttiinngg
The Key light is generally twice the intensity of
the Fill light which is twice the intensity of the
Back light. Again, these numbers are very
general and vary depending on the application.
Camera
150w Back Light
600w Key Light 300w Fill Light

11. 33--PPooiinntt LLiigghhttiinngg
The Key light is generally twice the intensity of
the Fill light which is twice the intensity of the
Back light. Again, these numbers are very
general and vary depending on the application.
Camera
150w Back Light
600w Key Light 300w Fill Light

12. 33--PPooiinntt LLiigghhttiinngg
The Key light is generally twice the intensity of
the Fill light which is twice the intensity of the
Back light. Again, these numbers are very
general and vary depending on the application.
Camera
150w Back Light
600w Key Light 300w Fill Light

13. TTyyppeess ooff LLiigghhttiinngg
There are two primary and two secondary types
of lighting used in film and television. The
primary types are Tungsten and HMI.
Tungsten refers to the steel
used in the filament inside the
globe. These are sometimes
called quartz lights because the
globes are made of hard glass –
almost as hard as quartz rock.
They emit a yellowish light.

14. TTyyppeess ooff LLiigghhttiinngg
There are two primary and two secondary types
of lighting used in film and television. The
primary types are Tungsten and HMI.
HMI’s (Hydrargyum Medium
Arc-Length Iodide) produce a
bluish light (like daylight) very
efficiently due to their unique
ballast system. Unlike Tungsten
lights, they are slow to come up
to full brightness.

15. TTyyppeess ooff LLiigghhttiinngg
There are two primary and two secondary types
of lighting used in film and television. The
secondary types are Fluorescent and LED.
Both types are energy efficient,
long lasting and come in a
variety of color temperatures.
Both can be dimmable and tend
to be expensive but can save
money over time. Fluorescents
come to full brightness slowly.

16. TTyyppeess ooff LLiigghhttiinngg
The most common type of lighting instrument
used in film and television is the Fresnel. The
Fresnel is named for the inventor of the lens
which was originally designed for lighthouses.
The Fresnel lens has concentric
rings that help focus and direct
the light. Most Fresnels utilize
tungsten globes or lamps (not
bulbs). Tungsten refers to the
steel used in the filament inside
the globe.

17. TTyyppeess ooff LLiigghhttiinngg
The most common type of lighting instrument
used in film and television is the Fresnel. The
Fresnel is named for the inventor of the lens
which was originally designed for lighthouses.
The Fresnel lens has concentric
rings that help focus and direct
the light. Most Fresnels utilize
tungsten globes or lamps (not
bulbs). Tungsten refers to the
steel used in the filament inside
the globe.

18. TTyyppeess ooff LLiigghhttiinngg
The most common type of lighting instrument
used in film and television is the Fresnel. The
Fresnel is named for the inventor of the lens
which was originally designed for lighthouses.
The Fresnel lens has concentric
rings that help focus and direct
the light. Most Fresnels utilize
tungsten globes or lamps (not
bulbs). Tungsten refers to the
steel used in the filament inside
the globe.

19. TTyyppeess ooff LLiigghhttiinngg
The most common type of lighting instrument
used in film and television is the Fresnel. The
Fresnel is named for the inventor of the lens
which was originally designed for lighthouses.
The Fresnel lens has concentric
rings that help focus and direct
the light. Most Fresnels utilize
tungsten globes or lamps (not
bulbs). Tungsten refers to the
steel used in the filament inside
the globe.

20. TTyyppeess ooff LLiigghhttiinngg
The most common type of lighting instrument
used in film and television is the Fresnel. The
Fresnel is named for the inventor of the lens
which was originally designed for lighthouses.
The Fresnel lens has concentric
rings that help focus and direct
the light. Most Fresnels utilize
tungsten globes or lamps (not
bulbs). Tungsten refers to the
steel used in the filament inside
the globe.

21. TTyyppeess ooff LLiigghhttiinngg
The Fresnels made by Mole Richardson have
been the workhorses of the film industry for the
past 30-40 years. All Fresnels are constructed
similarly and it is important to learn the parts of
these popular lighting instruments.
Mole Richardson

22. TTyyppeess ooff LLiigghhttiinngg
The Fresnels made by Mole Richardson have
been the workhorses of the film industry for the
past 30-40 years. All Fresnels are constructed
similarly and it is important to learn the parts of
these popular lighting instruments.
Mole Richardson

23. TTyyppeess ooff LLiigghhttiinngg
The Fresnels made by Mole Richardson have
been the workhorses of the film industry for the
past 30-40 years. All Fresnels are constructed
similarly and it is important to learn the parts of
these popular lighting instruments.
Mole Richardson

24. TTyyppeess ooff LLiigghhttiinngg
In addition to Mole Richardson, Fresnels are
also manufactured by a number of other
companies including Arriflex (Arri), Bardwell
McCallister, LTM and DeSisti. They range in
intensity from 125 watts to over 20,000 watts.
Arri Fresnel Bardwell-McAlister LTM Fresnel DeSisti Fresnel

25. TTyyppeess ooff LLiigghhttiinngg
In addition to Mole Richardson, Fresnels are
also manufactured by a number of other
companies including Arriflex (Arri), Bardwell
McCallister, LTM and DeSisti. They range in
intensity from 125 watts to over 20,000 watts.
Arri Fresnel Bardwell-McAlister LTM Fresnel DeSisti Fresnel

26. TTyyppeess ooff LLiigghhttiinngg
In addition to Mole Richardson, Fresnels are
also manufactured by a number of other
companies including Arriflex (Arri), Bardwell
McCallister, LTM and DeSisti. They range in
intensity from 125 watts to over 20,000 watts.
Arri Fresnel Bardwell-McAlister LTM Fresnel DeSisti Fresnel

27. TTyyppeess ooff LLiigghhttiinngg
In addition to Mole Richardson, Fresnels are
also manufactured by a number of other
companies including Arriflex (Arri), Bardwell
McCallister, LTM and DeSisti. They range in
intensity from 125 watts to over 20,000 watts.
Arri Fresnel Bardwell-McAlister LTM Fresnel DeSisti Fresnel

28. TTyyppeess ooff LLiigghhttiinngg
In addition to Mole Richardson, Fresnels are
also manufactured by a number of other
companies including Arriflex (Arri), Bardwell
McCallister, LTM and DeSisti. They range in
intensity from 125 watts to over 20,000 watts.
Arri Fresnel Bardwell-McAlister LTM Fresnel DeSisti Fresnel

29. TTyyppeess ooff LLiigghhttiinngg
HMI’s are available as both Fresnels and PAR
(Parabolic Aluminized Reflector) spot lights. Their
output per watt is almost 2X greater that that of
tungsten instruments, they have a lower operating
temperature and come in a range of wattages.

30. TTyyppeess ooff LLiigghhttiinngg
HMI’s are available as both Fresnels and PAR
(Parabolic Aluminized Reflector) spot lights. Their
output per watt is almost 2X greater that that of
tungsten instruments, they have a lower operating
temperature and come in a range of wattages.

31. TTyyppeess ooff LLiigghhttiinngg
HMI’s are available as both Fresnels and PAR
(Parabolic Aluminized Reflector) spot lights. Their
output per watt is almost 2X greater that that of
tungsten instruments, they have a lower operating
temperature and come in a range of wattages.

32. TTyyppeess ooff LLiigghhttiinngg
HMI’s are available as both Fresnels and PAR
(Parabolic Aluminized Reflector) spot lights. Their
output per watt is almost 2X greater that that of
tungsten instruments, they have a lower operating
temperature and come in a range of wattages.

33. LLiigghhttiinngg 110011
Three Basic Attributes of Light:
· Coherence (Quality)
Hard and Soft Light
· Color Temperature
Daylight and Tungsten
· Intensity
Wattage and Output
Foot Candles and Lumens

34. LLiigghhttiinngg 110011
Hard Light
Light is transmitted directly from
a small point source and results
in relatively coherent (parallel)
rays. This gives the light a hard,
crisp, sharply defined
appearance. The light from a
clear, unfrosted light bulb, a
focused spotlight, or the sun in a
clear sky are hard light sources

35. LLiigghhttiinngg 110011
Hard Lighting Instruments
LTM
PAR
Light
Ianiro
“Red Head”
ETC Source 4
Leko Spotlight
Mole
Open Face
Ianiro
“Blonde”

36. LLiigghhttiinngg 110011
Soft Light
Soft (diffused) light has the
opposite effect. As shown in the
photo on the left, soft light tends
to hide surface irregularities and
minimize detail.
There are numerous techniques
used to soften or diffuse hard
light sources.

37. LLiigghhttiinngg 110011
Soft Lighting Instruments
China Balls
“Chimera”
Soft Boxes
Mole Richardson
Fresnel
LED Lighting
Ziplight
KinoFlo Diva Fluorescent or Soft Light

38. LLiigghhttiinngg 110011
Controlling Coherence
Flags: Flags are frames covered
in fabric that are used to
control Coherence Color
Temperature and Intensity

39. LLiigghhttiinngg 110011
Controlling Coherence
Flags: Flags are frames covered
in fabric that are used to
control Coherence Color
Temperature and Intensity
They come in a variety of sizes
including:
• 12”X16”
• 18”X24”
• 24”X36”
• 48”X48”

40. LLiigghhttiinngg 110011
Controlling Coherence
Diffusion refers to the practice
of softening hard light with
diffusers. A common type of
diffuser is silk fabric stretched
in a frame. Small diffusion
frames are called flags, 6x6
to 10x10 frames are butterflies
and the 12x12 to 20x20
frames are called overheads.

41. LLiigghhttiinngg 110011
Controlling Coherence
Diffusion refers to the practice
of softening hard light with
diffusers. A common type of
diffuser is silk fabric stretched
in a frame. Small diffusion
frames are called flags, 6x6
to 10x10 frames are butterflies
and the 12x12 to 20x20
frames are called overheads.

42. LLiigghhttiinngg 110011
Controlling Coherence
Diffusion refers to the practice
of softening hard light with
diffusers. A common type of
diffuser is silk fabric stretched
in a frame. Small diffusion
frames are called flags, 6x6
to 10x10 frames are butterflies
and the 12x12 to 20x20
frames are called overheads.

43. LLiigghhttiinngg 110011
Controlling Coherence
Filters also known as lenses are
attached to open-face lights
(especially HMI’s) to help
diffuse and direct the light. A
set of lenses usually includes
a spot, a fresnel, a “stipple”
and one or two wide angles.

44. LLiigghhttiinngg 110011
Controlling Coherence
Diffusion also refers to many
types of gels (plastic filters)
that are used to soften and
reduce the intensity of lights.
Some popular diffusing gels
are frosts (250 and 216 and
Hampshire ), grid cloth, opal,
and toughspun. Gels are
attached to barn doors with
clothespins (C-47’s or bullets).

45. LLiigghhttiinngg 110011
Controlling Coherence
Diffusion also refers to many
types of gels (plastic filters)
that are used to soften and
reduce the intensity of lights.
Some popular diffusing gels
are frosts (250 and 216 and
Hampshire ), grid cloth, opal,
and toughspun. Gels are
attached to barn doors with
clothespins (C-47’s or bullets).

46. LLiigghhttiinngg 110011
Controlling Coherence
Diffusion also refers to many
types of gels (plastic filters)
that are used to soften and
reduce the intensity of lights.
Some popular diffusing gels
are frosts (250 and 216 and
Hampshire ), grid cloth, opal,
and toughspun. Gels are
attached to barn doors with
clothespins (C-47’s or bullets).

47. LLiigghhttiinngg 110011
Color Temperature
The second attribute of
light, color temperature,
refers to its basic color
as measured in
degrees on the Kelvin
color temperature
scale (Ko).

48. LLiigghhttiinngg 110011
Color Temperature
Although light can be any color
between ultraviolet and
infrared, There are two colors
we are concerned with:
5,600oK for daylight and
3,200oK for tungsten lamps.
Camcorders are programmed
with these two values as their
white balance presets.
Ultraviolet
5600o K
3200o K
Infrared

49. LLiigghhttiinngg 110011
Color Temperature
Tungsten lights operate at
3,200oK while HMI’s burn at
5,600oK. To match a tungsten
instrument with daylight or an
HMI, we attach a CTB (color
temperature blue) color
correction gel to the light. To
match an HMI with tungsten
we attach CTO (color
temperature orange).

50. LLiigghhttiinngg 110011
Color Temperature
Tungsten lights operate at
3,200oK while HMI’s burn at
5,600oK. To match a tungsten
instrument with daylight or an
HMI, we attach a CTB (color
temperature blue) color
correction gel to the light. To
match an HMI with tungsten
we attach CTO (color
temperature orange).

51. LLiigghhttiinngg 110011
Color Temperature
Tungsten lights operate at
3,200oK while HMI’s burn at
5,600oK. To match a tungsten
instrument with daylight or an
HMI, we attach a CTB (color
temperature blue) color
correction gel to the light. To
match an HMI with tungsten
we attach CTO (color
temperature orange).

52. LLiigghhttiinngg 110011
Controlling Intensity
Dimmers are the traditional way
to control the intensity of
lights. Unfortunately, as the
wattage decreases, the color
temperature decreases as
well. Dimmers come in sizes
ranging from 600 watts called
“hand squeezers” to dimmers
that can handle 20,000 watts.

53. LLiigghhttiinngg 110011
Controlling Intensity
Dimmers are the traditional way
to control the intensity of
lights. Unfortunately, as the
wattage decreases, the color
temperature decreases as
well. Dimmers come in sizes
ranging from 600 watts called
“hand squeezers” to dimmers
that can handle 20,000 watts.

54. LLiigghhttiinngg 110011
Controlling Intensity
Dimmers are the traditional way
to control the intensity of
lights. Unfortunately, as the
wattage decreases, the color
temperature decreases as
well. Dimmers come in sizes
ranging from 600 watts called
“hand squeezers” to dimmers
that can handle 20,000 watts.

55. LLiigghhttiinngg 110011
Controlling Intensity
Scrims resemble a frame of
finely-woven screen wire like
that found in a screen door. A
full set includes two doubles,
a single, a half-single, a half-double
and a gel frame.
Adding a single reduces the
light's intensity by 30% and a
double reduces it by 60%.

56. LLiigghhttiinngg 110011
Controlling Intensity
Scrims resemble a frame of
finely-woven screen wire like
that found in a screen door. A
full set includes two doubles,
a single, a half-single, a half-double
and a gel frame.
Adding a single reduces the
light's intensity by 30% and a
double reduces it by 60%.

57. LLiigghhttiinngg 110011
Controlling Intensity
Scrims resemble a frame of
finely-woven screen wire like
that found in a screen door. A
full set includes two doubles,
a single, a half-single, a half-double
and a gel frame.
Adding a single reduces the
light's intensity by 30% and a
double reduces it by 60%.

58. LLiigghhttiinngg 110011
Controlling Intensity
Like scrims, some flags (called
nets) can reduce the intensity
of a light without changing the
color temperature. In addition
to a single net and a double
net, a full set of flags includes
two solids, and a silk. One side
of some flags is open to make
it easier to blend the shadow.

59. LLiigghhttiinngg 110011
Controlling Intensity
Like scrims, some flags (called
nets) can reduce the intensity
of a light without changing the
color temperature. In addition
to a single net and a double
net, a full set of flags includes
two solids, and a silk. One side
of some flags is open to make
it easier to blend the shadow.

60. TThhee EElleeccttrriicc DDeeppaarrttmmeenntt
• Director of Photography
Oversees all the visual aspects of the film

61. TThhee EElleeccttrriicc DDeeppaarrttmmeenntt
• Director of Photography
• Gaffer

62. TThhee EElleeccttrriicc DDeeppaarrttmmeenntt
• Director of Photography
• Gaffer
(AKA: Chief Lighting Technician or CLT)

63. TThhee EElleeccttrriicc DDeeppaarrttmmeenntt
• Director of Photography
• Gaffer
(AKA: Chief Lighting Technician or CLT)
• Best Boy Electric (AKA: ACLT)

64. TThhee EElleeccttrriicc DDeeppaarrttmmeenntt
• Director of Photography
• Gaffer
(AKA: Chief Lighting Technician or CLT)
• Best Boy Electric (AKA: ACLT)
• Electricians/Lamp Operators

65. TThhee EElleeccttrriicc DDeeppaarrttmmeenntt
• Director of Photography
• Gaffer
(AKA: Chief Lighting Technician or CLT)
• Best Boy Electric (AKA: ACLT)
• Electricians/Lamp Operators
• Generator Operator

66. TThhee EElleeccttrriicc DDeeppaarrttmmeenntt
• Director of Photography
• Gaffer
(AKA: Chief Lighting Technician or CLT)
• Best Boy Electric (AKA: ACLT)
• Electricians/Lamp Operators
• Generator Operator
• Rigging Crew (same as above)

67. EEnndd ooff LLiigghhttiinngg OOvveerrvviieeww
Thanks for your attention
This presentation is
continued on the PPT
entitled “Lighting Analysis”