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Soft Lighting o Soft lighting has more nuance and creates far more diffuse illumination. Soft lighting can also soften the
hardness of certain characters to stimulate a positive emotional response to them in the audience.
Frontal Lighting o Frontal lighting attempts to extinguish all shadows. The result is a rather flat image that loses dimension.
This can give the scene a poster-like unreal effect.
Side Lighting o Side lighting does the opposite of frontal lighting in that it seeks angularity rather than flatness. Side
lighting is very effective at producing emotional resonance in a character by highlighting noses, cheekbones and lips. This effect is usually accompanied by hard shadows cast to the other side of the actor.
Backlighting o Backlighting attempts to provide a greater feeling of depth by making the object of the film stand out
against a diffuse background. This lighting technique can create feelings of the locale overwhelming the character. Backlighting also helps to create a sense of dislocation and disorientation in the character or scene.
Underlighting o Underlighting is light that comes from below the subject. Underlighting is used quite effectively to
produce scenes of horror because it can produce a grotesque effect on the features of a face.
Key Lighting High/Low o Key lighting has no side lighting to diffuse the shadows and so a face can appear as a slash of white in
the darkness surrounding it. The key light provides exacting illumination of the subject and is sometimes accompanied by fill lighting. High key is brighter than low key.
Fill Lighting o Fill lighting is used to soften the shadows produced by key lighting. When fill lighting is used with
backlighting, it can produce a striking image of a dark character within a dark setting.
Silhouette Lighting o Silhouette lighting creates dark, strongly outlined silhouettes against a bright background. This is an
effective technique for introducing unknown characters to the audience.
Hard lighting
Soft Lighting o Soft lighting has more nuance and creates far more diffuse illumination. Soft lighting can also soften the
hardness of certain characters to stimulate a positive emotional response to them in the audience.
Frontal Lighting o Frontal lighting attempts to extinguish all shadows. The result is a rather flat image that loses dimension.
This can give the scene a poster-like unreal effect.
silhouette
Side Lighting o Side lighting does the opposite of frontal lighting in that it seeks angularity rather than flatness. Side
lighting is very effective at producing emotional resonance in a character by highlighting noses, cheekbones and lips. This effect is usually accompanied by hard shadows cast to the other side of the actor.
Backlighting o Backlighting attempts to provide a greater feeling of depth by making the object of the film stand out
against a diffuse background. This lighting technique can create feelings of the locale overwhelming the character. Backlighting also helps to create a sense of dislocation and disorientation in the character or scene.
backlighting
Underlighting o Underlighting is light that comes from below the subject. Underlighting is used quite effectively to
produce scenes of horror because it can produce a grotesque effect on the features of a face.
Low key
Key Lighting High/Low o Key lighting has no side lighting to diffuse the shadows and so a face can appear as a slash of white in
the darkness surrounding it. The key light provides exacting illumination of the subject and is sometimes accompanied by fill lighting. High key is brighter than low key.
Fill Lighting o Fill lighting is used to soften the shadows produced by key lighting. When fill lighting is used with
backlighting, it can produce a striking image of a dark character within a dark setting.
soft
Silhouette Lighting o Silhouette lighting creates dark, strongly outlined silhouettes against a bright background. This is an
effective technique for introducing unknown characters to the audience.
under lighting
fill lighting
high key
front lighting