3 point lighting multiple subjects

How big is the nearest window?

And are you ONLY using these three sources or can you use bounce cards and other gear? If these are to be the ONLY sources of light in the scene with no bounce or fill, you've got your work cut out. Three very hard light souces with minimal controls.

I'd probably use the broad light near the camera as front fill. I'd place the talent at the 3 and 9 positions. I'd key the actor at the 9 position with a light at the 2 position, and I'd key the actor at the 3 position with a light at 10. Adjust so that the lights offer separation for the actor nearest the light source, and adjust distance of the stronger light (or put on an ND gel) to balance the power.

It won't be pretty, but it would work.

With other options like bounce cards or silks, you could soften the front fill, bounce the light from the hard sources to get something more flattering, flag light from the camera, etc.
 
Ya I would only be using the three lights and have some sort of diffusion on them (softbox).
 
Im just trying to think how I could get the most out of the setup, lighting for one is simple, but lighting for multiple people is difficult and I cant rap my mind around it. I would like to have a hair light on both and both to have a key and a fill on them, I could use a bounce card but im trying to use the lights as best as I can.

Im trying to learn about lighting as much as I can so any help is appreciated.
 
If they're sitting close to each other, you should cross light them.

Basically, two of the three lights are behind each actor's shoulder. Aim the light over the shoulder of the closer actor (it becomes a back light) and on to the farther actor (acting as a key). Then aim the second light the same way from the opposite direction.

This way one light acts as key for for the actor farther from the light, while simultaneously acting as backlight for the actor closer to it. You use a second light on the other side to do the same thing (but opposite). The third light goes by the camera and acts as a fill for both actors.

Diagram (had to use the periods to get the spacing to hold, ignore them):

..........Light3 Cam
.................^ |

............Actr1 Actr2
Light1< ............... >Light2


-Jeff
 
Yeah, cross lighting, or inside keys, as I know it, is your best approach.

I thought it was a little silly until I worked on this show with an ASC DP. After I saw him do it, I figured heck, good enough for me.

You can also just bounce your main light off the back wall for fill, or just go without it all together.

The more you light, the more you realize that 3 lights is plenty sufficient. You really don't need some big kit to light everything. Keep it simple!
 
Alright thats what I was thinking, but I didnt quite make sense to me, thanks for that.

On another note, what about lighting a room with the actors moving around in it, not a huge distance but moving in general. What would be the best approach, softboxes and the lights moved back (also want to know the best way to keep the lights out of the shot for time reasons, and continuity).
 
You would move the lights out of the shot and match the look, but before you do it, you should have shot everything you needed to from the previous setup, so that when you do move the lights, you don't have to to go back to that setup. This will save you time and you'll be free to keep moving on in your schedule.
 
Austinv said:
what are peoples opinions on the lowell 55 kit?
Click to expand...

Not a bad place to start. You could certainly do worse. I would strongly suggest buying the 2 position socket for the Rifa light though. Adds a LOT of flexibility to that light for not a lot of cost.
 
I just bought the 55 (adding it to the DV creator kit you have). Beautiful even light. I would also second (PF) getting the three light fluorescent socket so you can easily daylight balance (withouth gelling and losing any light output). Like an idiot I bought the one light fluo socket and it was too weak to use as a key.
 
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