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High-key lighting is a style of lighting for film, television, or photography that aims to reduce the lighting ratio present in the scene. This was originally done partly for technological reasons, since early film and television did not deal well with high contrast ratios , but now is used to suggest an upbeat mood.
The three light setup is a common method used in photography. This method uses three separate lighting positions to give the photographer a great deal of control in illuminating the subject. It is formed by a main light known as the "key", the fill light, and the backlight. [4]
The addition of a fourth light, the background light, makes for a four-point lighting setup. The background light is placed behind the subject(s), on a high grid, or low to the ground. Unlike the other three lights, which illuminate foreground elements like actors and props, it illuminates background elements, such as walls or outdoor scenery.
The key light is the first and usually most important light that a photographer, cinematographer, lighting cameraman, or other scene composer will use in a lighting setup. [ 1 ] [ 2 ] The purpose of the key light is to highlight the form and dimension of the subject.
The key grip collaborates closely with the director of photography and relies on the best boy as their chief assistant. key light One of three light sources in a traditional three-point lighting set-up, generally positioned directly in front of the subject being filmed or photographed and supplemented by the back light and fill light. The key ...
The key light is placed directly in front of the subject above the camera (or slightly to one side), and a bit higher than the key light in a three-point lighting setup. The second light (more often a reflector rather than an actual light) is placed as a fill directly below the camera (or slightly to the opposite side).
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The typical Rembrandt lighting setup. Normally, the key light is placed high and to one side at the front, and the fill light or a reflector is placed half-height and on the other side at the front, set to about half the power of the key light, with the subject, if facing at an angle to the camera, with the key light illuminating the far side of the face.
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