“Lighting is more than just illumination that permits us to see the action”
Bordwell, David and Kristin Thompson. “Film Art: An Introduction” pg. 126
A well-lit scene is vitally important to any scene, whether in 3D software or in live action film. Besides its basic function of allowing the viewer to see the characters and environments in a particular setup, it adds incredible dynamics to the scene. It can add stylistic meaning, bring out certain textures and even play a role in informing the narrative (as a vital part of mise-en-scene). In this essay, I will explore the setup and motivation for a fundamental lighting rig known as Three point Lighting. I will then compare this rig to another lighting example, Four Point Lighting, to show how different lighting setups can dramatically change and enhance the overall appearance of a scene.
The first rig to be explored is Three Point Lighting. According to Jan Ozer this setup “has its roots in lighting as art rather than lighting as a necessary evil for the camera to do its work” (2004, pg40). This setup therefore allows for objects in scenes to be lit in such a fashion that they do not appear ‘flat’ (the term used to describe lighting which remains unilateral throughout an environment and removes any field depth and shadow variation).
The first light in a three point setup is known as the key light. Nicholas Boughen defines this light as being “the primary source of light” which “provides primary illumination”. (2007, pg69). The most obvious naturally occurring example of a key light would be the sun since it provides earth’s primary light source. In 3D software, this is often mimicked by using an infinite light. In a three point setup, the key light provides the most direct illumination on a subject and is usually placed at a slight angle to the object in order to give it a certain shadow fall off. Ozer describes this as ‘modelling’. (2004, pg40).
The second light in the setup is known as the fill light. This light serves to “illuminate areas that are shadowed from the key light” and therefore provides extra defining detail on the surface of a subject which may have been overshadowed by the key light. The intensity of the fill light should “be less than the key light” so that it fills in extra detail but does not become a key light in itself (Boughen, N. 2007, pg70).
The third light in the setup is known as the backlight or rim light. The main purpose of this light is to separate the subject from its background and, therefore, to provide a greater sense of depth within the scene. It also helps to “define the shape” and provide a “defined edge for blue or green screen shots” (Boughen, N. 2007, pg71). In terms of placement, the backlight is usually “on the same side as the key light” (Callow, R. 2008, pg1). The three point setup looks like the following:
The next rig to explore is the Four Point Lighting setup. This setup, as may be suggested, is basically the addition of an extra light. The effect produced can, however, drastically change the overall appearance of a scene. The four point setup is used for two main reasons: in portrait shots of people/characters and in general environment. Boughen describes the additional light as a “bounce light” and notes that this light “is reflected from the ground in front of objects” (2007, pg78). He also notes that where key, fill and backlights are usually lit from above, this bounce light shines on the subject from below and can add a subtle effect to the subject by filling in extra shadowed areas (especially the areas below the eyes).
For a general environment setup, the extra light used is referred to as the background light and is used “to give depth to the image by putting some mixture of light and shadow on the wall behind the subject or subjects” (Burley, Shane. 2009, pg1). In terms of intensity, it works in the same fashion as a fill light but its placement can dramatically alter the appearance of a scene. Burley gives an example of an effective background light. He notes that it can be placed behind a window to cast windowpane shadows onto a wall within the room. This is able to add a stylistic element to the scene as well as give it a specific dramatic tone, something that a basic three point setup cannot always achieve. Below is an example of a Four Point Lighting setup:
The main difference between these two lighting setups is the stylistic/tonal quality that four point lighting can add (from an environmental point of view) and the extra definition and detail it can add (from a portrait point of view). The problem of using four point as opposed to three point is that, if not setup correctly and with the correct relative intensity, it can possibly make the scene look like it has been flat lit (due to the fourth light filling in even more shadows). A big problem with using three point lighting is, as Boughen describes, is that it is “the most grossly overused and inappropriately used lighting setup in the world of CG (2007, pg77). It is good to note that an overlit scene “flattens everything and diminishes details” while an underlit scene can be “muddy, gray and rather lifeless” (Derakhshani, D. 2009, pg439). A well-lit scene generally has a balanced ratio of light to shadow and to exclude shadows altogether may make for a very dull and non-dramatic visual result.
In conclusion, I have defined and explored two very practical and useful lighting setups – three point lighting and four point lighting. I have explored both the technical requirements for each of these setups (from positioning to intensity) and have discussed how they may be used to inform certain dramatic requirements within a scene. I have lastly made a comparison between the two setups to show how, in general, lighting setups/rigs need very specific intension in their buildup as every setup comes with its own stylistic advantages and disadvantages. It is the understanding of how the balance of light and shadow within a particular environment/character affects the overall tone and stylistic elements of a piece which defines a good lighting rig.
Works Cited:
1. Bordwell, David and Kristin Thompson. Film Art: An Introduction. 2nd Ed. McGraw-Hill Book Co. Singapore
2. Boughen, Nicholas. Lightwave v9 Lighting. Wordware Publishing Inc. Plano , Texas
3. Burley, Shane. How To Do Four Point Lighting. http://www.brighthub.com/multimedia/video/articles/59485.aspx. Web. 2009
4. Callow, Rhonda. How To Do The Three Point Lighting Technique. http://www.brighthub.com/multimedia/video/articles/13931.aspx.%20Web.%202008
5. Derakhshani, Dariush. Introducting Maya 2009. http://books.google.co.za/books?id=acW9IlKehIEC&pg=PA439&dq=3+point+lighting&cd=4#v=onepage&q=3%20point%20lighting&f=false. Web. 2009
6. Ozer, Jan. Traveling Light. E-Media – The Digital Studio Magazine. 2004.
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