After the Fill

In doing a set up, the last light set is the fill light. It's easier to place shadows and to work their quality when they are deep, dark black.

First I set the key to place a shadow where the camera will see it. The shadow's soft/hard quality is dependent on two things: diffusion type and comparative size. When a diffusion like Grid Cloth absorbs the light and then becomes the glowing object scattering light rays toward the scene, that scattered light is quite soft. When the diffusion simply casts a subtle shadow of its fuzzy self, veiling the light, like Hampshire Frost, the result is harder. Comparative size refers to the geographical, or physical, size of the source (after it has hit any diffusion frame or bounce board) compared to the size of the subject. Distance affects comparative size; a 4'x4' frame is big compared to a 10" face when they're close to each other, but backing off the frame makes it smaller fast. The inverse square law applies here, which means little things mean a lot when it comes to distance, size and exposure.

Exposure is roughed in with the incident meter, keeping in mind that everything placed in front of the light - cutters, diffusion or color, will reduce the level. If I want a T4, I start with 4/5.6 or a 5.6, depending on how these lights and this lighting style worked on these actors the day before. Some gaffers like to start with a double scrim in the head so that after the toppers, siders and nets have been set, the level can be restored to key exposure by pulling the wire.

The purpose of the fill light is to add exposure to the shadows. True to that purpose, it's useful to minimize new shadows created by the fill. It is common to set a geographically large source near the camera axis so that its shadow drops to where the camera can't see it. Because geographically large sources require geographically large cutters to control them, time and space should be considered.

To fine tune the exposure and contrast, I spot meter parts of the scene placing the reflective light values in the 7.5 stop range (give or take) that the film on my shoots usually has. It's nice to have the entire latitude — including off-the-curve levels— represented in the picture. The Memory/Average feature on my spot meter insures I never do a calculation involving a number greater than 10.

Although the fill is last to be looked at, I ask for it early. Some fill is usually necessary and, even if it's not used, it never hurts to have it ready. (This is also true if negative fill is preferred; I like to have the flags standing by.)

When the fill is done, and the floor has been checked for errant spills, I begin to ask myself what's next on my list of things to do as the director of photography:

• Have I matched the lighting scene to scene?
• Have I put elegance into the blocking?
• Is my work calling attention to itself?
• Am I prepared for what's coming up?
• Am I capturing the director's vision and serving the story?
• Am I getting the job done in the most efficient manner for production?
• Am I providing security and comfort for the actors?
• Am I keeping a pace that allows the AD to schedule?
• Am I letting the crew, in all departments, know they are valued contributors to the process?
• Do I conduct myself with integrity and professionalism?