Lighting when subject is moving

[connor]

So, I've been making my way through the introductory 3-point lighting sites and a couple of lighting books, but a question keeps cropping up: what to do when a subject, or the camera itself, is moving?

Say a character turns at a right angle and the camera follows: if the lighting is simply left as it was set up, wouldn't the character be bathed in shadow? It doesn't seem sensible to move the key light, as that would just appear confusing to the viewer. Is the solution to simply spin the fill light and perhaps use a reflector to change how the light fills the character's face?

I'd be very interested in any resources or tips you might have as to lighting a moving subject. Are there, for instance, special lighting packages designed to be easily moveable?

I'm so pleased a site like this exists - you guys have already been immensely helpful! :dankk2:

 

[bcheong]

A lot of the time light is motivated so if they fall away from the light it's not too bad because it would happen anyway in real life. Depending on the aesthetic and the shot size you could then cheat in a small fill if you didn't want something to dark.

What you really want to do is try to use larger fixtures further away which is going to produce less falloff than a smaller fixture closer. Using this technique will allow the actor a lot more freedom to move around without his or her exposure levels changing drastically.

The next you can do, depending on the shot size and blocking, is have a mobile light source like a Chinaball, reflector, or I've handheld kino's also...

 

[Gopher_Greene]

That's why 3 point lighting isn't realistic except in an interview. Read John Altons book, Painting with Light and he give you the 8 points of lighting you need to consider lighting a scene.

 

[Cheesesailor77]

yeah, 3 point lighting is a principle. You'll almost never use only 3 lights o light a scene, but just about everylight falls into the catagories of Key, Fill, and Backlight (and background light)

that's way interview lighting is often used to demonstrate the technique, because it's a literal usage.

So basically you need to get more lights

 

[CineMark]

I totally don't recommend moving the lights with the camera/actor, as this is way too fake and unrealistic.

As said, just have broad sources of light. You would obviously know the direction your talent is moving, so set up another "realistic" light source in that area. Just think of logical ways this could happen.

If these are outside shots, go downtown or into a park and watch how light hits people as the walk around and turn corners. Same thing inside or at night. In real life there is almost always some type of ambient light that will create a soft fill. Of course it's not going to be as bright or primary as your key light, but the subject won't go 100% dark.

Watch Munich. Great lighting and even some scenarios that will mimic what you're talking about. Sometimes it's not bad if you're subject falls into shadow for a bit, as this adds to the realism.

 

[J.R. Hudson]

If you're inside it will require some planning on your part using a lighting diagram but outside is rather simole with the bodies

As Cinemark says (Munich)

 

[JPatnaude]

My experience is to light the CU's, and after you block your scene, you'll know where the actors are going to end up. You can use 4'x8' sheets of foamcore to bounce large amounts of softlight into the room. This will give them room to move. Softlight will "fall off" faster, or will loose its punch in a short diistance.
One thing you can do--but maybe/maybe not afford-- is to use a BIG light at a longer distance. Setting a large light (2k or 5K, or even a 10 k solar) at a longer distance, the light will fall even across the set.

That being said, sometimes it's visually more interesting to have the actors walk through lighting pools, creating some tension. See Blade Runner, Spitfire Grill, any of the B&W "Noire" genre films.
my two cents.

Jeff Patnaude:kali:

 

[dustino]

As others have said, characters moving into shadows, lights, etc. can often be used to dramatic effect. For an obvious example - say the dialogue implies that the actor is hiding something or being evasive. Having them walk into a shadow reinforces the narrative/emotion of that scene.

As I'm sure you know, there are MANY times when you don't want the actor to be well-lit. Maybe you want a prop or some element of the set to act as the focal point for symbolic reasons or to suggest a certain plot/emotional/psychological emphasis. So try to use a minimal kit creatively to your advantage. I wouldn't recommend moving lights unless you're going for a surreal-feel, dream sequence, etc.

 

[Lawsuit_Boy]

If you're inside it will require some planning on your part using a lighting diagram but outside is rather simole with the bodies

As Cinemark says (Munich)

Yay for foam-core. :thumbsup: (and Munich as well. 2 disc edition should be here soon!)

 

[DVX100Shooter]

I have seen different techniques being used where a gaffer put some handles on the back of a large Kino Flo light and walked along side of the Actors in the scene to keep constant light on them. I think that was in the movie "SKULLS". Also I have seen crews put a large softbox on the end of a boom type pole and hang it over the talent as they all walked down the sidewalk or whever they were walking.

 

[Gopher_Greene]

Those are called boom lights, they used quite often in studio films of old, but not as much any more. I've also seen lights dollyed in front of the talent, takes a lot of crew though.

 

[TheJackyl]

Where did u get that picture John, id love to see more behind the scene type stuff which can help instruct?? thanks

 

[Paul Cahill]

Typically, subject movement is filmed in the "master scene." Because the subject is on the move, shot framing will be loose and the subject will be presented in a medium close shot, medium, or even an establishing shot. And that's good news, because it means that you won't normally use fill lights on the subject. Master scenes typically involve one or more subject keys, and, depending on the dramatic situation, one or a number of background keys.

Lighting the master scene demands attention to three "Ms" -- Motivation, Movement, and Mood.

Motivation refers to the existence and placement of "practicals" -- windows, lamps, candles, etc., that the viewer will perceive as the apparent sources of light in the scene. If the audience thinks that a window in a scene provides the source of light, then that belief should "Motivate" your decisions regarding key light placement.

Movement refers to the movement of the subject or the camera or both during the scene. The path of that movement is called the actor's "block." Several subject key lights should be placed along the block. If the master scene is shot indoors, chances are that the pools of light created by the subject keys will not overlap. Obviously, shooting an exterior master scene outdoors during the day will require that the light from the subject key fixtures overlap to provide the illusion of continuous light.

Mood, or the dramatic intention of the scene, also influences the quality of light used during the master scene. You'll read a lot about high key and low key lighting. The shadows created various fixtures (spots, broads, etc) helps to establish the mood of the master scene and the close shots that follow. The placement of these fixtures also influences the scene's mood.