For the close-ups I repurposed the LED panel that wasn’t being used as a background light, dialling it back to 3,200K to match with the location’s existing tungsten lighting that was already doing a lot of the work.

Side lighting examples

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Examplesof backlightingin film

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Yes, this tool is compatible with smartphones, tablets, and desktops. The browser-based camera diagnostics allow you to check both front and rear cameras easily. Switching between cameras during the test helps verify performance on each.

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Here’s a super-recent example of cross-backlighting in action, on the set of The Gong Fu Connection. I’ve complicated things a bit though here. I’ve decided I want the characters’ keylights to be softer and cooler in colour than their backlights.

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Documentary photography examples

Backlightingphotography

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Testing your camera is simple and accessible across devices. This online tool is browser-based, so you can use it on desktops, laptops, tablets, and smartphones.

I practice what I like to call cross-backlighting. What I mean by this is that the lamps are both on the opposite side of the actors’ eyeline to the camera. The result is that the downsides of their faces are lit. (Check out this post on key angles if you’re not sure what I mean by downside.)

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Once you grant the tool access, a live video feed will display immediately. This lets you verify camera functionality right away. If the video feed appears clearly, your camera is working. If not, try troubleshooting steps below.

Front lighting examples

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So there’s actually a dedo and an LED panel behind each actor. The camera is set to a white balance of 3,200K. Each dedo provides a strong, white backlight, narrowly focused so as not to spill onto the opposite actor’s face. The LED panels, positioned much closer to the talent, provide a slightly softer light with a dialled-in temperature of 4,500K.

If the resolution is lower than expected, consider adjusting camera settings or upgrading your device for better video quality.

When we got to Carmina’s close-up I decided the LED panel alone was still too harsh, so I bounced it off the silver side of a collapsible reflector. I adjusted the panel to an angle where just a little direct light was hitting the side of Carmina’s face, and this kind of blends with the bounced light to provide a gentle wrapping illumination.

A common scenario in filmmaking is that you have two characters standing talking to each other and you need to do a two-shot and an over-the-shoulder of each. A quick way to light this kind of scene is cross-lighting: you set up two lamps so that each lamp serves as one character’s backlight and the other’s keylight.