Lighting 101 -- Part 2: The Fill Light
Page 2 of 2
This brings us to the Key to Fill Ratio. Fill light intensity is set relative to the key light. A low key to fill ratio produces few shadows; a high key to fill ratio produces many shadows leading to more texture and depth on the subject. In a high key lighting setup you might try to shoot for a Key to Fill ratio of 2:1 or 3:1. A low key lighting setup might have a ratio that falls between 3:1 and 5:1 (or lower).
The following shots demonstrate various ways of controlling the amount of Fill light that falls on the subject. [an error occurred while processing this directive] The first image shows the Fill light being diffused using an umbrella reflector to bounce light from the Fill light to the subject. Notice how much softer the shadows are.
 |
| Umbrella reflector bouncing fill light |
While an umbrella reflector is typically used to bounce light, it can also be used to diffuse light. This greatly reduces the amount of light reaching the subject, so you may have to move the Fill light closer to the subject to compensate.
 |
| By passing the Fill light through the umbrella reflector a low Key to Fill ratio is achieved. |
A different type of umbrella is used in this next image. This umbrella is a cloth diffuser and is meant to pass light through to the subject. Notice that it is much softer than the reflector and changes the feeling of the shot greatly.
 |
| A diffuser softens the light and creates a pleasing image |
If you are on a limited budget you don’t always have to have a lighting instrument to serve as the Fill. A large piece of foam core works wonders with bounced light.
The following image uses a piece of foam core that has aluminum foil covering one side. The foil has been crumpled to keep the bounce card from acting like a mirror, which would result the double shadow problem mentioned above.
 |
| Watch that reflected light from an aluminum coverd bounce card doesn't remove the shadows all together. |
Compare the previous shot with the following which uses just the white foam core itself. When using foam core it is vital to get close to the subject to get adequate bounce. Just be sure the PA isn’t in the shot too!
 |
| A much softer fill is achieved with the white side of a piece of foam core. |
Remember, the Fill light softens shadows, it doesn’t create new ones. Placement of the Fill light should always be opposite the key, but exact placement is not set in stone as each lighting situation will require different techniques
In the next installment we’ll discuss the back light and how it is used to separate the subject from the background.
When not working deep in the labs of the DMN Central Division testing the latest and greatest software/hardware products Stephen Schleicher can be found at the local university teaching a few courses on video and web production. He can be reached at schleicher@mindspring.com. You can also visit him on the web at www.mindspring.com/~schleicher
Source: Digital Media Online Inc.
Prev 1 2
[an error occurred while processing this directive]
