Best method to produce accent kickers on the jaw/cheek?

[silvan schnelli]

I see a lot of beautifully lit faces with a key accompanied by a soft and colored kicker across the cheek/jaw.

What are some methods to best achieve these kickers, especially in a more wide/master shot. I often find them protruding too much into the face or that the kicker is too large and rims the shoulder and head.

I’m pretty sure that in Se7en Darius Khondji ASC AFC and gaffer Chris Strong employed a lot of kinoflo lights for accents.

 

[silvan schnelli]

More examples:

[Shane Louis]

I often use linear panels or tubes for this. It tends to be more about finding the correct angle since I find it’s about the reflectivity of the skin reflecting the source rather than just a lot of level. Sometimes it’s not even possible to get the lamp in the correct location because of the shot, but if you’re the DP, you can compose to help leave space for that fixture. 

[Guillaume Cottin]

In many cases such kickers will occur naturally on set from a natural source like a window, and you just keep them and diffuse them. That's what you see in the Serious Man example. And it would be my advice: let them happen rather than add them.

If you absolutely must have one (maybe a character has a massive jaw that needs to be emphasized?), the challenge is to get the angle. The light must be dangerously close to the edge of frame, so you can use a vertical source like a tube for example, or small Litemat, something like that. You may realize that you don't need a lot of power because of the reflective angle on the skin.

[Matthew J. Walker]

For rim light, backlight, or however one calls it, I always use tungsten halogen fresnels positioned in a way such that it achieves the back light I want, with the position naturally changing from actor-to-actor. Admittedly, I am partial to hard light much more than diffused light, though a more talented cinematographer than myself can pull off the look you describe with soft light too. Since eyes can be deceptive with contrasting colors I always check with a light meter to ensure that the rim light will not overpower the key light, unless I want it to. When using film specifically, if a rim light is a deep color–like suggestive of a neon sign–I ensure the light is around one stop underexposed for full saturation.

In terms of lamp placement, everyone's facial structure is different, yet I often find that those with defined jawlines prove the effect much easier to achieve; with others, it can be difficult. Depending on what type of light source the rim light is intended to suggest, I might place the light farther from the actor and spot it light using the focus knob, or reciprocally turn the focus knob to full spread and move the light closer. For example, if mimicking headlights of a car, I would likely spot the light from afar. I personally find that, once I've found the general area I need the light in, it's usually just inching the lamp around in order to achieve the desired effect. Notwithstanding, sometimes location can limits this.

Also, while I use tungsten fresnel lamps, I understand many other people use LED and/or HMI lamps too, and I've known some who prefer not to use either. Everyone has their own style, however, no matter what type of lighting you prefer, the effect should be achievable to some degree. In another post we had a discussion in, you mentioned utilizing a flashlight as a key light but, depending on the intent, a flashlight might actually make for an awesome budget rim/backlight.

[David Mullen ASC]

I used to use a Kinoflo single tube vertically to get a soft sheen as a kicker but now I’m more likely to use a vertical Litemat 2L or an Astera tube in diffusion housing. Dimmed down is usually better. Sometimes a practical source or a daytime window will create that effect.