Light is a funny old thing. If you lie out in the sun too long you burn. If you go to a disco it provides atmosphere. But how many of us actually consider light before we go off and shoot?

Okay, so you've got the script. You've worked out your locations and you've sorted out your crew and talent. You've decided that the first scene your going to shoot is an interior sequence. You set up your camera, rehearse your actors, and then switch on the camera. Its black. You check the cables. They're fine. Then you notice that there is only one single 60 Watt bulb to illuminate the entire room. The camera has lux rating of 5, but the image is all grainy and you can't see your actors face. What do you do? Panic?

Before we get in to what you could do, lets think about light for a moment. Basically, there are two types of light:

Natural: The Sun is a natural light source.

Artificial: Video lights, candles, fires, bedside lamps. Anything man-made.

Without getting into technical stuff (like the Kelvin temperature scale, or the colour of light), Light is made up of all the colours of the rainbow. Our eyes are pretty good at working these out. A camcorder, on the other hand, is a bit stupid. It needs to be told what white is so that it can work out the colours. You do this with a white piece of card, and the process is called white balancing.

There are essentially only two types of lighting style: Low key and High key.

Low Key: Areas of high contrast, strong shadows. Film Noir of the 1940's used Low Key lighting to great effect. If you want to create an atmosphere of tension, this is ideal. (See illustration 1 in Guide to Lighting).

High Key: With high key lighting, shadows are obliterated, or softened, by areas of fill or reflected light. (see illustration 2 in Guide to Lighting)

Ever watch a movie that's set in the morning, and the lights all blue? Same goes for the evenings, when there's a red hue to everything? You see, cinematographers know that first thing in the morning, the lights a little cooler, a little bluer, and in the evening its a little warmer, a little redder. Do you think they waited for the right light at the right time of day? No, they manipulated it. They used filters to recreate what the audience already knows subconsciously.

Okay, so light has a temperature. Artificial lights do, too. Tungsten bulbs, the type that you find in video lights, tend to be very warm. Flourescent strip lights tend to be cooler (& they Hum!) Its worth bearing this in mind.

Okay. Back to the shoot. What kind of atmosphere do you want to create? Cold and menacing? Try using a couple of Redheads (800 watt film making lamps) with blue filters attached. Place the light outside so that it shines through a partially open window, simulating moonlight.

This also illustrates one of the golden rules of lighting- Make it look like its coming from somewhere! i.e- The Sun, moonlight, a streetlamp, car headlights. The audience will turn off if they think that the lighting is unrealistic.

No film making lights? Don't worry. Improvise. Use a bedside lamp, and natural daylight, use strip lights and candles. Use reflectors. You don't need the expensive ones... a sheet of white card will do, or even some tin foil!

Want to know the basic lighting set-up that all film makers use? Then listen up. With 3 Red head (800watt) film making lights you can light a set creatively and professionally. (see illustration 6 in Guide to Lighting).

Point 1: The Key Light. this is your main light source. It could be the Sun, or a street light. It is the strongest light, and is usually set up to the front side and slightly above your key subject. (see illust 2 in Guide to Lighting).

Point 2: The Fill Light. This light, as its name implies, eliminates or softens shadows. This is placed on the opposite side of the subject to the Key light. (see illust. 4).

Point 3: Back Light. The back light is positioned behind the subject in a high position, and produces a halo effect around the head.

Ohh, and there is one more lighting set- up... you could call it Point 4... The Set Light. This lights a part of the set behind the actors. (Illustration 6 in Guide to Lighting).

Making films, or videos, is like composing thousands of little paintings. Its not just a question of how many colours you use, its also a question of how little. With light, its essential to feed the ever hungry camcorder... otherwise it can't see. But be careful that you don't over-light and lose the atmosphere that you were trying to create.

Another useful adage is... 'Less is more'. Just because you have the lights doesn't mean you have to use them. Rather than floodlight your scene, why not splash small pools of light around the room/ location instead? You want a softer light? Try reflecting or bouncing your light off a sheet of white card or the ceiling? Above all, try to mirror real life. Light is rarely consistent... there are hotspots (areas of intense light) and deep shadows. Why not try and emulate this in your own productions?

Above all, have fun, experiment and use light creatively.

Illustration 1.'The Crow'

This is a classic example of Low Key Lighting. There are strong contrasts and large areas of shadow creating an atmosphere of tension and danger.

Illustration 2. 'Jurassic Park'

This is an example of High Key Lighting. This is what I call the 'Page 3 of cinematography'. Notice how the lighting is even throughout the scene. Where there are shadows, they have been softened with a fill light.

Illustration 3. Key Light

In this still from 'The Crow', the Key light is positioned to the right of the actor and low down. Notice the dark shadow on the left of Brandon Lee's face.

Illustration 4. Back light

Note the shine on the top of Laura Dern's hair? That's Back lighting!

Illustration 5. The Set Light

This light is used to light a portion of the set behind the characters.

Illustration 6. Silhouttes

Rather than light your subject, light the background to create some great silhouettes.