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4 But see how much more interesting this image becomes when we add the Back light. This is a look you’ll see a lot in dramatic/crime programs. Strong contrast between the left and right sides of the face. You can accentuate this even more by moving the key light more to the right, creating a rim of light around the actor, leaving the rest of the face in shadow. 5 Here, the Key, Fill and Back lights are all on. Notice how the face has shape and depth, though the dramatic intensity of the image is signifi cantly reduced. This lighting is typical for interviews, where you don’t want to scare the audience, but, instead, want to make the actor pleasant and inviting. 7 Here’s an example of why you don’t want to use ceiling lights for your interviews. Lisa is lit from above with only a Back light to provide separation from the set. Look at the strong, unnatural shadows under her eyes and chin. The forehead is too bright, while the chin is too dark. It’s impossible to get your talent to look good when lit from above. 8 This is under-lighting, where the light is immediately under her chin. Every evil villain in history is lit from below. Now you see why - highlights and shadows are reversed, creating a very unsettled, angry, mysterious feeling. SUMMARY 6 Now we have everything turned on: Key, Fill, Back and Set. This is typical lighting for many interviews and talk shows. It has a light, cheerful, non- threatening feeling. What I fi nd fascinating is that we have all these different looks when we only have one actor sitting still. When actors start to move around and we add multiple camera angles into the mix, the lighting possibilities become truly infi nite. NOTE: Thanks to Lisa Younger for being our model for this article. KITPLUS - THE TV-BAY MAGAZINE: ISSUE 104 AUGUST 2015 | 45