SOFT LIGHTS LIGHTING
USING SOFT LIGHTS
A soft light source is essential to using the three-point lighting technique that has been around for decades. It is typically a main or key light that is a large light source, a second light to fill in some of the shadows caused by the main light and a final harder light coming from behind the subject as a back light or hair light. Most filmmakers have one main light at 45° to the subject and a fill at 45° on the other side, at a lower power setting. The main soft light can be a softbox, bounced into a big reflector or shot through a large scrim. The size of the light modifier, the softbox’s interior surface, the diffusing material and more can all have a significant effect. One LED panel, Rotolight’s new Titan X2, is a large panel that allows you to dial in some extra diffusion, to make it even softer. A large and diffuse source, such as a big LED panel, right near your subject, gives soft light that just seems to magically wrap around your subject. Always remember the larger the light source relative to the subject – and the more diffuse its output – controls how soft the quality of light is. A smaller or more distant source, with little or no diffusion, gives a harder output and makes hard-edged shadows.
ABOVE With the Litepanels Gemini LEDs, you can dial in any colour you’d like or use gel mode to select an exact colour gel
It’s always worth experimenting with the colour of the light, too, as using a lower-temperature white balance can give a real warmth to the shot. Setting it cooler can give a wintry night-time look. And as some lights have full RGB control, you can dial in any colour you want. For example, if you would like bright red or blue, you can do it and change the look of your shot totally. A good example of an RGB light is the Gemini One by Litepanels, a very advanced unit and you can dial in any colour you like. Dial in hue, saturation and intensity, or use gel mode to select an exact colour gel. Other lights, such as Rotolight’s large Anova Pro 2 soft panel (right), is a round style to produce more circular catchlights in a subject’s eyes, so is ideal for close-up beauty work.
“Most filmmakers have onemain light at 45° to the subject and a fill at 45° on the other side”
IMAGES On set with the Rotolight Titan X2 (left) and what the right lighting can do in a portrait shot (above)
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PRO MOVIEMAKER
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