This gives the illusion of the window light carrying over onto his face and makes the additional lighting feel more believable.īefore rigging any lights, stand back and think about what would be happening naturally. What’s actually happening is just off frame right there is a large bounce material (likely to be unbleached muslin) redirecting a light source onto the actor’s face.
In reality, if this was the only light source in the room then the actor would be lost in a sea of darkness. We see the blown-out window behind the actor and believe the light through the window is lighting his face. The shot above is a great example of motivated lighting. Referencing the different light sources in your frame you can begin to make more relevant creative decisions about lighting and what’s motivating it. Often you’ll need to ‘extend’ a light source further into a space to get the desired exposure for your frame. This could be a fake sun blasting through a window or a practical lamp in the corner of the room and everything in between.Ī simple way to create believable lighting is to ask yourself “where is the light coming from?” Motivated lighting is lighting that extends and or mimics lighting we see in the real world. Motivated lighting is one of the most powerful tools in a cinematographers toolbox. Whether it’s a futuristic sci-fi thriller or a period piece, leaning into what occurs naturally and using your skills to amplify the mood will always provide a more believable cinematic scene. You will quickly notice the different elements that come into play when you begin to analyse how light reacts in the real world. There is no one rule that fits all when it comes to naturalistic lighting. Only by studying what happens during different times of the day and in different locations can you begin to use it to your advantage. Light hitting different surfaces and redirecting onto other surfaces. The one common factor when creating naturalistic looks is ‘bounced’ light. Using a combination of great scheduling and knowing how far they could push the camera they were able to capture one of the most iconic shots of the movie. The frame above was shot entirely with available light. His lighting style is heavily influenced by his time as a documentary cameraman and by a variety of his favourite reportage photographers who only work with available light.Ī lifetime of studying natural light and the effect it can have on us has enabled him to create some of the modern cinemas most iconic imagery. One thing that sets Roger Deakins work apart is his ability to create a sense of realism.
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