A secondary type of back light is called kicker light, as it allows you to kick in some additional accent light exactly into the areas of the subject’s face you want to enhance. Primarily I would have my back light at 1 stop brighter than the key light, while kicker light I’d have at least three-quarters of a stop below the key light. A kicker light’s effectiveness is in regards to its reflected angled, rather than the physical illuminating output. While my back light is primarily situated at 45- degree angles to the subject, I usually set my kicker light just back of a 90-degree angle onto the face. I usually turn all my other lights off when setting a kicker light, so I’m able to see exactly where the kick pops out onto the skin. I always use barn doors or solid flags to cut kicker spill light hitting the nose.
Overhead light
Overhead light broke into cinematic vogue in the mid-70s following its groundbreaking use by master cinematographer Gordon Willis. Gordon Willis turned the idea of illuminating eye sockets on its head in The Godfather, where he deliberately had Marlon Brando’s eyes shaded, to prevent the audience from seeing what was going on emotionally in his head. When I set positions for overhead light, I in fact prefer it a little closer to the camera than directly over the actor’s head, so that the light seeps into the eye sockets yet maintains its top- down directional character. If I find the scene requires the overhead light to be a little steeper right over the head, I set a separate eye light to illuminate the eyes.
Picture 18. Overhead light creates a pool of shadow under the eyes. Here I set a separate eye light at 3 stops below the key light.
In conclusion, anyone can switch on lights and flood out a face with flat frontal light, but don’t forget that shadows create dimension, perspective and mystery. What is concealed in shadows is as telling as what is revealed in light. The light or shadow on a face should always be motivated and simple. Remember that one strategically placed light will ultimately be more efficient than multiple badly positioned lights.
Lighting is subjective, thus nothing is right or wrong. If you make the effort to understand the science of light, and master lighting angles and techniques, you will dramatically improve your skill in lighting faces, and in recreating the visual mood and emotion you intended for your audience.
An 18 year film veteran, Daron Keet's critical eye and passionate sensibilities make him a well-sought-after cinematographer, who moves seamlessly between commercials and features. His many years of on-the-job training enable him to bring technical proficiency, clarity, and innovation to his easygoing, on-set approach. Quick to embrace new technologies, he has extensive experience on 35mm film, Viper film stream, Genesis, and CineAlta HD camera systems. When he’s not working, you can find him playing squash or trying not to lose money in the stock market. Daron lives in Los Angeles with his wife and two children.
