Every cinematographer is an artist who makes creative decisions on how to guide the viewer’s eye within the frame using lighting equipment.

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The wide angle (5mm) lens on each of the bulbs casts light in all directions, allowing for brighter and more brilliant displays, both indoor and out.

You can soften a light source with diffusion materials like gels or Chinese lanterns to reduce shadows. This is great for shooting close-ups.

The back light gives an edge light to the rear portion of your subject. Often, the backlight shoots down from a higher angle. You can see that Amelie has a light contour along her shoulders and the nape of her neck.

A straightforward, affordable, and easy-to-understand guide to lighting and cinematography. It is a slim volume, but extremely thorough.

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You’ll generally want to flank your camera with your key and fill lights, spaced about 60 degrees on an axis from your camera.

Like all aesthetic principles, lighting choices have highly individualistic interpretations, based on the DP or director. These techniques are purely meant to maximize cues that can create evocative imagery. For further reading, read about out how cinematography techniques, beyond lighting, that can enhance your storytelling. And, as always, be sure to let us know in the comments which techniques have worked well for your own shoots, and any we may have missed!

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The most basic lighting in film is the three-point lighting setup. Lighting from three directions shapes your subject and sets them apart from their background.

Conversely, smaller light sources, including bright sunlight, will heighten the shadows on your subject. Conservatively, this should be avoided. But it can also create dramatic effects, as was popularized in the classic Film Noirs, which featured suspicious and volatile characters.

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In essence, he swapped out the bulbs in the existing light sources around the diner to make them stronger. Since the scene reveals wide portions of their location, he relied on the practical sources, with some of LED light mattes brought in as well for additional soft, balanced light.

Low key lighting refers to minimizing, or eliminating, the fill light your shot so that it is intentionally shadowy. This can create dramatic, suspicious, or even scary effects.

This is an effect created by heightening the key light and using fill lights generously. This keeps the lighting bright and balanced in your frame, creating almost no shadow.  This balances the lighting from object to object in your frame — which is known as your lighting ratio.

Often times, using existing lamps and light sockets around the set can be used to light a scene. This is referred to as practical lighting, and is particularly useful when you need to reveal wide portions of the set, or move around it in longer takes.

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As you can see, the lighting in this scene is motivated by the lanterns carried by the actors. When motivated lighting is done right, the audience is unaware of the artifice at work.

Before you shoot, you can take your camera to the location to see how well the natural light holds up. You can decide from there how what additional lights you might need, or how you might adjust the light. For example, you can use bounce boards for reflecting the light, or black flags for blocking it out.

They might, for example, choose to take the practical lights that are already in a location and elevate their effect. This is motivated lighting.

For example, he speaks about using Magic Hour, or the soft light created by the sun at the end of the day, for specific moments. And, further, he talks about how the selection of locations, and how they appear at different times of the day, created appropriate moods for the shoot.

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Their applications are broad, but their creative interpretation is what makes their lighting cinematic (or not). They include:

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When talking about how a scene should feel emotionally, one thing that is referenced by cinematographers frequently is how hard or soft lighting should be.

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The key light is the light that registers most prominently in your frame. So, when you look at the image of Amelie above, you’ll see that the screen-right portion of her face is brightest. That’s the key light.

In this effect, the back light hits the side of your subject’s face. It can create an angelic rim of light, while a very soft fill light keeps the face gently illuminated.

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Kino Flo is an industry standard light manufacturer who host this free film lighting techniques PDF on their website. Naturally, it is to be used in conjunction with their own equipment. But it takes you through many universal lighting tips for broadcast, documentaries and more.

Each of these decisions are then realized technically by planning and executing lighting setups to create the desired effect. But the cinematographer must dream up what these effects will be before setting up any lighting equipment.

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Here's Roger Deakins discussing his approach to practical lighting, and why "unmotivated" light always takes him out of the movie.

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In this video, Deakins discusses how he first learned to pay attention to how natural light behaved — during fishing trips as a kid. Deakins is also a proponent of simplicity when it comes to lighting.

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hooting projects on a budget can mean limitations on your gear. So how can you maintain a “cinematic” look without a cube truck full of lighting equipment? In today’s post, we’ll examine what exactly it means to have a cinematic look. Then we’ll break down several lighting techniques that are achievable on any budget. Although cinematic lighting is predicated on creative interpretation, these principles of film lighting can form the basis of your creative choices. To show this, we’ve taken several examples of how the best DPs (directors of photography) create specific cinematic effects with thoughtful lighting setups of their own. Prepare to be inspired!

To achieve this, your film lighting equipment needs to face your subject from three directions: front, back and side (generally).

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Quite simply, fill lights fill in the shadows of your frame. You’ll notice that the screen-left portion of Amelie’s face is in shadow, but with her features still plainly visible. That is a fill light at work.

This was the case in the diner scene in Moonlight. In an interview for TIFF Originals, DP James Laxton spoke about how he used practical set lighting to keep his location visible in wide frames.