|
|
|
|
|
|
The Standard Three Light Set-up
The first light to be positioned should be your modelling light.
This will become your key light. As this is the most important light it should be positioned carefully, and this will depend on the scene requirement. Question where the light is supposed to be coming from, and what its source is supposed to be - a window or overhead light? Then decide how much you need to model the features of the subject - the cheekbone, eyebrow, nose, and chin shadows. This should be in sympathy with the subject as well as the story content.
In a standard set-up the modelling light may be used to simulate light coming from a window, so position this light out of shot, forward of the subject and at window height. When the desired modelling effect has been achieved, the soft fill-light can then be added. This should be placed nearer the lens axis on the opposite side to the modelling light in order to soft light the shadowed areas created by the modelling light. Avoid creating further shadows by over-powering the modelling light effect. When using the spot-to-flood facility of the Paglight in combination with the soft light filter you will achieve the fine control required to balance the effect of these two lighting requirements.
Finally, add the rim or backlight. This can be positioned behind the subject, on the darker side, and high enough to rim light the top of the head and shoulders. If required, spill light from this light may be used to light the background. Note that in order to eliminate lens flare, any light falling on the camera lens surfaces, regardless of whether it is out of the framed shot, must be flagged off with either the lamp's own barn door system or a French flag. |
|
Fig.8 The three light set-up from left.
Fig.9 Modelling and fill light from right.
Fig.10 Modelling light from right and rim light from left.
|
|
Artificial Light Only
Using artificial light only, for instance in a studio or room with no windows, is an ideal situation because everything is under your control. In this set-up the camera can be balanced for artificial light and your Paglight can be used with its tungsten-halogen lamp unit without the need for a colour correction filter.
The nominal colour temperature of tungsten halogen studio lighting is 3200°K. The above situation, using the Paglight PowerArc, which produces a daylight colour temperature of 5600°K, would require the orange PowerArc conversion filter,
(Model 9973) to reduce its colour temperature in order to match the artificial lighting.
|
|
|
|
|