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COMMENT Lighting Fundamentals PUT YOUR LIGHTING TO WORK Let’s take a look at how these lights interact in lighting an interview: by Larry Jordan L ighting is like chess. Simple on the surface yet wondrously complex the more you learn about it. Recently, I was asked to do a presentation on the basics of lighting. So, I decided to share that presentation with you here. It starts with “3-point Lighting,” though, um, we actually use four lights: - Key light This is Lisa. Except, she’s in silhouette, we can only see her outline. Just the Set light is turned on, which means we can see the background, but Lisa in the foreground is totally dark. - Back light - Fill light 1 - Set light 2 When we add the backlight, we get a much more interesting shot, though we still can’t see Lisa’s face. The Key light is set anywhere from dead in front to 45° over and 45° up from the face of the actor, or talent. The Key creates the dominant shadows on the face. The Fill light is lower and closer, designed to “fi ll in” the shadows so the face isn’t so dark. The Back light is immediately behind the talent and 70° or so up. This is designed to separate the actor from the background by providing a gentle rounded light on their head and shoulders. The Set light is placed to light the background without any light hitting the talent. 44 | KITPLUS - THE TV-BAY MAGAZINE: ISSUE 104 AUGUST 2015 3 Now, let’s turn off the Set and Back lights, and add a Key light from the front right. We can clearly see what Lisa looks like, but there isn’t a lot of depth to the shot.