![]() ![]() As in the previous example the key refers to the main light illuminating the scene. The second major ratio a cinematographer needs to be aware of is the Key to Background ratio. Now that we know that if we wanted to reproduce this shot or a shot with a similar light/dark feel to it we now know that we would need 3 times the amount of light on the key side compared to the fill side. So in our example the key light is reading 3 stops brighter than the fill light if we were to be measuring with a light meter on set. For a definition on what a stop of light means you can check out these helpful links: Stops of Light Using stop levels when talking about ratios means you are comparing the light levels in stops of light. For now we will work in my preferred terminology which is Stop Levels. We will get into the specifics of working in light levels or stops levels later on in this article. In this example it looks to be about a 8:1 ratio in terms of light levels or 3:1 ratio in terms of stops levels. It could be from the key light bouncing of some poly board or white card or there may not be any bounce at all and it could be coming from the walls of the set.Įither way, to measure the key to fill ratio you would measure the amount of light falling onto Jude’s key side (the camera left side in this example), write it down, then measure the amount of light falling on the fill side of Jude’s face (camera right in this example) and compare the two. The fill doesn’t look to be generated from another light in this example. This is a simple close up in an office and you can quickly see the Key light is coming from camera left and providing the light on the camera left side of Jude’s face. For example, lets take a look at this shot of Jude Law. The Key to Fill ratio is most commonly discussed when lighting people. The term Fill as used here just means the opposite side of the Key. The fill light levels can come from a bounce, or general abmient light, or it can be negative fill. The fill light doesn’t have to actually be a light. The Fill refers to the fill light level in the scene. The key light is also the most common light used for setting your exposure on the lens (setting you shooting stop). The key light in any given scene is the light that is providing the main illumination for your subject. In this case the term “Key” is referring to the amount of light coming from the Key Light in the scene. The most common ratio that cinematographers measure when shooting is the Key to Fill ratio. What Are the most common Ratios Cinematographers track and use? As a cinematographer you are painting with light and to get the results you are looking for you need to have a firm understanding of the principles you are trying to manipulate. Understanding the effects of lighting ratios can make you a more efficient and more effective visual storyteller. Lighting ratios for cinematography aren’t concerned with the number of lights or the types of light (soft/hard) but rather how much light is falling in one area vs. ![]() When I talk about Lighting Ratios in cinematography I am referring to the measurement of the amount of light illuminating one area or object in the frame compared to the amount of light illuminating another object or area of the frame.Ĭinematography is a very complex art and there are an endless number of lighting possibilities but understanding ratios and commonly used ratios can help a cinematographer develop a visual language across a project. ![]() Cinematography School: Analyzing Lighting Ratios What is a Lighting Ratio in Cinematography? ![]()
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