Camera & Lighting: Task 3

Client Work – Studio Photoshoot

On Friday May 17th we were asked to set up and photograph a shoot for the hair and make-up department using the green screen.

I arrived at college just before 9.30 and met a few other people in the studio. Our first port of call was to collect and set up the equipment. So we assigned a small group of people to fetch the lighting and gels from C19 whilst others went and retrieved the camera and tripods that we had booked out from the staff room. We chose to use two Canon 550D’s as opposed to the 7D so we could get close ups and mid shots simultaneously.

After all the equipment was in the studio, we began the set up. (Evidenced below) To light the set, we decided to use two flow lights at the back of the studio pointing toward the green screen, with two 300w and two 650w lights pointing at the screen to avoid shadowing on the subject.

After the lighting was set up, I then began to set up the camera and tripod with Joey, experimenting with ISO and aperture settings in order to obtain the best results ready for the shoot. By the time we had set up all the equipment, the hair and makeup department (and their models) where ready for the shoot. One by one, the models came through and were positioned by ourselves and the makeup department.  Myself (pictured above) and Joey took charge of the morning shoot, taking the photographs and ensuring we had the best pictures for post production. The pictures below showcase the models and their costumes.

My camera and point of view:



Below is a selection of the photographs we took on the day.

One, Two & Three Point Lighting

One/Two/Three Point Lighting Techniques


Single Point Lighting involves just one light. This would be illustrated as the key light.

The way in which we would utilise this light effectively would be to use a soft box in order to convert the light into a powerful diffusion light source.

Reflect the light off a white poly-board at a 45 degree angle adjacent to the talent in position.

Environment will enable: Reflective lighting techniques.

Black wrap- Black foil, used to wrap around a light to stop light spill dispersion.

Alternatively you could bounce the soft box directly off a light frame diffuser or another reflector to create a soft lighting effect and hence produce as much light as possible onto your subject.

A key light is the main light source that has the most influence on the subjects’ illumination; it also defines the visible lighting and shadows. This light is also the key factor in three point lighting techniques and normally has the strongest intensity out of all the three lights in the set up.

Set up behind the camera and out of frame; place the camera at a 45 degree angle in relation to the subject, the direct light will create a highlight on the side of the face. It may need diffusion or scrim to apply a soft lighting effect or to concentrate the light into a localised area of the subject within the frame. Key light intensity (approx 650/800W)


Two lighting techniques


Two Point Lighting set up: Used for interviews or presenting directly to the camera. This is called the cross lighting techniques and provides maximum effect in terms of light intensity. It produces a very flat look to the scene and to the subject. Consider highlights in the eyes and some light and shadow. The absence of contrast on the subjects face does not convey a natural or authentic look to the scene.

Secondary source of light: Fill light – used to eliminate shadows that are created by the key light, it will soften contrasts and make more of the subject visible by extending the illumination that the key light provides. Should be placed directly opposite the key light and can be raised to the height of the subject but should never be lower than the subjects’ shoulders.

Ambient lighting: This refers to overhead lighting present in most rooms, the primary way that a room is lit and provides good illumination. There are many examples of ambient lighting such as; a chandelier, ceiling mounted fixtures and the light on a ceiling fan.



Lighting Types:

Fresnel: – Mainstay of film work (Interior) power increased by stepped lens

Flood: – Basis of most background lighting, usually softened by use of a diffuser (CYC lights)

Pebble convex: – Same as a Fresnel but without stepped lens, causing a lower light output

Open face reflector (Redhead or blonde):- Portable lighting (500w Redheads and 2kw blondes) must be used with a scrim.

Spot light (Harmony light):- Mostly theatre, can be used in conjunction with gobo’s

HMI: – High powered portable light, special power supplies (10,000w, or 10kw)

Par can: – Mainstay of rock concerts, mostly used for background in TV

Flags: – Things placed in front of a light lens (i.e. twigs or cardboard with cut outs) hard to focus flags (Low budget make shift gobo’s)

Chiaroscuro: – (Light/dark) started with German expressionism.

Green Screen Set-Up

Camera and Lighting set up – April 11-12th


On the morning of April 11th, we were told that we had to set up and shoot a green screen shot for a showcase. We were not given individual jobs; instead, we worked as one group, with a few people setting up the lights whilst others set up and prepared the track, jib and camera. I helped to set up the track and jib in the studio whilst other members of the group went to collect lighting from C19. On return, I helped them to set up the lighting around the green screen. We arranged the flood lights evenly around the studio so that the green screen was evenly lit, we then put diffusers and daylight coloured gels on the lights to help create an even light on Craig (our subject) and the green screen.
Green Screen set up

After the lighting and track were set up, we attached the 7D to the pan head, with a shoulder mount containing a long life battery. Our working environment was good, we had music playing and communication between everybody was making it easy for us to set up relatively quickly. We took some test shots of Craig and the green screen and at first glance things seemed to look good, so we proceeded to pack away with the thought of finishing the filming and packing away the next morning. However upon the next morning we encountered a couple of problems, the camera didn’t have an SD card to film on and the lens we were using was now being used elsewhere. After group discussions, we found a lens that gave us a nice, similar image to the one we used prior. We also found a card to capture on so we continued the filming and finished the shoot, slightly later than expected but still in good time considering the circumstances.  At the end of the shoot we all got on with dismantling the equipment and packing away the track, camera and green screen. We locked away all the equipment in the appropriate places and finished for the day.


Click here to view a video of the filming of the green screen