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Take this famous scene from Stanley Kubrick’s A Clockwork Orange for example. The darkness and silhouettes help us understand Alex and his droogs as cruel and menacing.

To see this type of back lighting in action, check out this video tutorial that covers back light in a three-point-lighting setup as well as others.

When dust and fog tries to slow you down, engage the Amber PLC (Photon Light Core Technology) to pierce the night by reducing shadows and white-out through the proper Amber LED lighting spectrum and wide-elliptical shaped beam.  For added dust & fog penetration, the Shocker Race model utilizes a special LED Chip configuration which emits maximum Amber brightness while still offering an extremely wide elliptical driving pattern.

Just like any other light, experimenting with its positioning and angles will help you identify how you want it to expose your frame. Small adjustments can make a huge difference, so be sure you make time to experiment and test your backlighting setup.

So, next time you are lighting a scene and feel like something is missing or the image is too flat, try out back lighting and experiment with all of the great things it can add to a shot.

The Shocker LED Light Bar is also available in White PLC (Photon Light Core Technology) models which will ignite a bright white ultra-wide beam to clearly see the trails and roads edges with over 170° of illumination.

Knowing how to light your scene means understanding how both light and darkness should be used. Silhouettes have great tonal and storytelling capabilities that can heighten the drama of a scene.

2021913 — As the name suggests, this light is meant to fill in the missing light for your video. The key light is placed facing your subject but on the ...

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Dual Function Lighting Technology: The Shocker Bars all-new VRT (Vector Reflector Technology) and PLC (Photon Light Core) provide both a distance spot beam and an elliptical wide spread beam into a single dual functioning light bar.

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Backlight is light that hits an actor or subject from behind, typically higher than the subject it is exposing. Backlighting an object or actor from the background creates more depth and shape to a subject.

Race Output Shocker: Available with White LEDs for the Broad Spot Beam (Vector Reflector) and features upgraded High-Output Amber LEDs for the Elliptical Beam (Photon Light Core).

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Back light can be used in multiple ways for different effects, but its positioning is generally standard among all techniques. Understanding the backlight definition will help you incorporate it in your next lighting setups.

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We’re in a golden age of TV writing and development. More and more people are flocking to the small screen to find daily entertainment. So how can you break put from the pack and get your idea onto the small screen? We’re here to help.

Back lighting photography also brings out shapes in a subject that can be used for dramatic effect as seen in this still from The Hateful Eight, one of Quentin Tarantino’s best movies. Although subtle, the backlight helps define the shape of the hat and steam that would otherwise fall flat against the background.

Kyle DeGuzman graduated from San Diego State University with a Bachelor of Science in Television, Film, & New Media. He currently resides in Denver, Colorado spending his time writing, filmmaking, and traveling.

The Shocker Dual Action LED Light Bar brings versatility and lighting power to the forefront by allowing you to adjust your lighting to the ever-changing driving conditions with the flick of a switch. Experience the all-new VRT (Vector Reflector Technology) at high speeds by shining a long distance, broad spot beam that fans across the trail.

Back lighting is a main component of the traditional three-point-lighting technique and is what makes a frame feel three-dimensional rather than flat. When a backlight hits a subject at an angle it is referred to as a kicker or rim light.

Don’t be afraid to use a backlight as your main light source when a shot calls for it. Some of the most iconic shots in cinema have used only a backlight as a main source of exposure.

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Backlights can be the determining factor between a flat, boring image and an interesting, dynamic shot that is full of depth. Most cinematic shots use back lighting in some form and are the key to elevating an amateur looking shot.

Back light within a three-point-lighting setup will help offset the flatness created by your key and fill light. To do this, place your backlight on the same side of your key light. Then, raise your backlight higher than the subject it is hitting and angle it down at your subject at roughly a 45 degree angle.

Within the context of a traditional three-point-lighting setup, a backlight reduces the flatness of the image against a background caused by the key light and fill light by separating a subject from the background.

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Recessed installation; modules available in two lengths in end or middle version for continuous line set-up; end modules can be completed with end cap ...

AI LED Controller MK II With a vivid display and built-in wireless capability our new controller is sure to make managing your lighting very colourful.

A great example of this can be seen in this still from Shutter Island. The back light photography here creates depth and drama by separating the subject from the background.

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Understanding how a backlight works in conjunction with a fill light and key light is critical for creating cinematic shots. Check out our guide to the three-point-lighting setup that is fundamental for every filmmaker to understand.

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Sometimes backlights are used as the main key light of a shot as well. This leads to a silhouette which has a very different effect than back lighting in a three-point-lighting setup. It can be incredibly dramatic and ominous which is perfect for dramas and thrillers.

Because back light photography hits a subject from behind at a higher angle, it gives a sense of depth and space behind the subject. Back light not only exposes the rim of an actor, but can help expose the space behind them to create a more three-dimensional image.

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Cinematographer Roger Deakins uses it in The Assassination of Jesse James by the Coward Robert Ford to heighten the suspense and drama of a scene. Consider this moment and how dramatic the silhouette is, the atmosphere of the forest, and the simple yet evocative composition.

So, is backlighting as simple as placing a light somewhere behind your subject? Or is there a bit more strategy or nuance to this technique? Let's walk through some tips on how to make sure you get the most out of this style.

Race Inspired Side Mounts: The extremely durable race-ready side mounts are built to outlive any abuse and provide the Shocker with vertical light angle adjustment.

The LED Red Spot Light was a lighting product sold by Spirit Halloween for the 2012 to 2014 Halloween seasons. It resembled a circular red light encased in ...

As you can see, there are various ways to utilize back light in the cinematography of your film. Determining how to use it comes down to the tone of your story and how back lighting photography can contribute to it. Here are some actionable lighting techniques and tips for using back lighting in your lighting set up.

There are many elements that go into creating a cinematic shot. The key light is important to expose the image. The fill light can determine the visual tone of a shot. But all too overlooked is the backlight. Back lighting can be the determining factor between a flat image and an interesting shot full of depth. What is backlight photography and how is it achieved? Let’s find out.

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Ideally, you would shoot your exteriors at golden hour for the most cinematic natural lighting. This shot from Ford v Ferrari uses the sun as a backlight perfectly to create a very cinematic image.

Standard Output Shocker: Available with White LEDs for the Broad Spot Beam (Vector Reflector) and Amber LEDs for the Elliptical Beam (Photon Light Core) OR White LEDs on both functions.

When shooting exterior shots, it is a good idea to use the sun as a backlight. The sun can often be too harsh of a light to be a source, but can be utilized as a backlight depending on the sun’s angle.