{"id":73911,"date":"2016-04-29T10:08:00","date_gmt":"2016-04-29T15:08:00","guid":{"rendered":"http:\/\/www.premiumbeat.com\/blog\/?p=73911"},"modified":"2016-09-13T14:32:30","modified_gmt":"2016-09-13T19:32:30","slug":"how-to-create-powerful-cinematic-look-with-a-single-light","status":"publish","type":"post","link":"https:\/\/www.premiumbeat.com\/blog\/how-to-create-powerful-cinematic-look-with-a-single-light\/","title":{"rendered":"How to Create a Powerful Cinematic Look With a Single Light"},"content":{"rendered":"

Need a powerful cinematic look? Only have a single light? No problem.\u00a0Here are a few ways to create some dramatic atmosphere with only one light.<\/span><\/h2>\n

Top image: The Master via The Weinstein Company<\/a><\/em><\/p>\n

A professional set of lights for film production<\/strong> can get pretty expensive. While lighting is crucial, especially on a mystery or film noir production,\u00a0you\u00a0may not have the capital to drop on the gear you need. But don’t fret. There are plenty of ways for you to convey the mood you want.<\/p>\n

As you can see in the image above (from 2012’s\u00a0The<\/em> Master<\/em><\/a>),\u00a0director Paul Thomas Anderson<\/a>\u00a0utilizes a single light setup<\/strong> to convey a sinister and foreboding mood. It essentially tells the audience that at some point something is going to go very wrong.<\/p>\n

So, how do you capture imagery like this with only a single light<\/strong>? Let’s take a look at some basic lighting techniques<\/strong>\u00a0you can use the next time you need some powerful contrasting imagery.<\/p>\n

Ways to Work With a Single Light Source<\/strong><\/h3>\n

A Single Light Silhouette<\/h4>\n

\"How
\nImage via\u00a0FilmmakerIQ<\/a><\/em><\/p>\n

The best use of a single<\/strong> light<\/strong> source<\/strong>\u00a0is utilizing it to create a powerful contrasted image like a silhouette<\/a>. A perfect example of using this single<\/strong> light<\/strong> approach<\/strong> can be seen in 1955’s\u00a0The Big Combo<\/a><\/em>. In order to capture the image above, cinematographer John Alton<\/a>\u00a0had to use several techniques alongside the single<\/strong> light<\/strong> source<\/strong>.<\/p>\n

First, he dropped the camera at a low angle with a wider-angle lens. This gives the audience a full view of the characters as well as the space. Then, in order to capture the desired silhouette image, Alton used a fog effect<\/a>. By using fog he was essentially able to\u00a0create a large white backdrop.<\/p>\n

\"How
\nImage: E.T. the Extra-Terrestrial<\/a> via\u00a0Universal Pictures<\/a><\/em><\/p>\n

You don’t need\u00a0a fog machine or an actual light fixture to capture the silhouette look. Legendary director\u00a0Steven Spielberg<\/a> has been capturing this look for years with only the sun as his light source.<\/strong>\u00a0In the image above, Spielberg and his cinematographer Allen Daviau<\/a>\u00a0captured a shot of the main characters walking toward the setting sun.<\/p>\n

It’s simple in technique, but powerful in terms of visual information. To capture this shot, take your camera and attach a\u00a0wider-angle lens (such as a 35mm prime<\/a>). Since you’ll be filming into the sun, use some filters to capture the color and look you want (you can find a solid filter breakdown at B&H Photo<\/a>). Then all you need to do is wait for the golden hour<\/a>\u00a0to capture\u00a0an incredibly beautiful silhouetted image.<\/p>\n

Backlight With a Reflector<\/h4>\n

\"How
\nImage: Inglourious Basterds<\/a> via\u00a0The Weinstein Company<\/a><\/em><\/p>\n

In this shot from Inglorious Basterds<\/em>, we have a scene that could have been lit with a<\/strong> single<\/strong> light<\/strong> and a reflector<\/a>. This shot suggests that a\u00a01K light<\/a> with a Frost<\/a> or Quarter diffusion<\/a> was placed directly above the talent.<\/p>\n

However, to really capture this look, you would use a large reflector<\/a> at 45 degrees camera right to reflect light back at the talent. The reason we believe the reflector is camera right is due to the shadow just under the earring of actress\u00a0Diane Kruger<\/a>. You could also use two reflectors, but place them opposite of the talent being lit.<\/p>\n

Dramatic Scrimmed Single Light<\/h4>\n

\"How
\nImage via\u00a0Fstoppers<\/a><\/em><\/p>\n

Another dramatic way to light with a<\/strong> single<\/strong> source<\/strong> is to use a scrim. First, you’ll need to set the camera, and then stage the talent in front of a background. To pull off the effect, you need 1K light with a half-double scrim<\/a> set vertically, with the scrimmed side for the background. Then you’ll want to pan the light toward the background<\/strong> until the clean light hits the side of the talent\u00a0and the scrimmed light hits the background. With the background being lit through the scrim, it will separate the dark side of the talent.<\/p>\n

\n

Make sure the light is a significant distance away from the subject. So, around 10 feet or farther. – Michael B. Mullins<\/a>, ICG<\/p>\n<\/blockquote>\n

Classic Film Noir Look<\/h4>\n

Finally, let’s jump back to the film noir<\/strong> look that we started with. This is a classic look that’s easily captured using a single light source<\/strong>. If you don’t have the cash to purchase a high-end light, then check out this incredibly helpful tutorial<\/strong>\u00a0from Ryan Connolly<\/a> and Film Riot<\/a>.<\/p>\n